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•WASHINGTON  * D • O • 


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Gallery 

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• CATALOGUE • 


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GIBSON  BROTHERS, 
PRINTERS  AND  BOOKBINDERS, 
WASHINGTON,  D.  C. 


BOARD  OF  TRUSTEES. 


Charles  M.  Matthews. 

James  C.  Welling. 

Edward  Clark. 

Samuel  H.  Kauffmann. 

Matthew 


Frederick  B.  McGuire. 
Walter  S.  Cox. 
Charles  C.  Glover. 
Calderon  Carlisle. 

W.  Galt. 


President. 

James  C.  Welling. 

Vice-President. 
Samuel  H.  Kauffmann. 

Secretary  and  Treasurer. 

Charles  M.  Matthews. 


C.  M.  Matthews. 
Edward  Clark. 

S.  H.  Kauffmann. 
C.  M.  Matthews. 
F.  B.  McGuire. 


COMMITTEES. 

On  Finance. 

C.  C.  Glover. 

On  the  Building. 

C.  M.  Matthew's. 

On  Works  of  Art. 

Edward  Clark. 

On  Legislation. 

W.  S.  Cox. 

On  Accounts. 
Curator. 

F.  Sinclair  Barbarin. 


Calderon  Carlisle. 
M.  W.  Galt. 
F.  B.  McGuire. 
C.  C.  Glover. 
M.  W.  Galt. 


Janitor. 

Benjamin  V.  Darrell. 
3 


53d  Edition. 

(First  20,000  of  the  revised  edition.) 

In  all,  140,000  copies. 

Note. — All  measurements  in  this  Catalogue  are  given  in  inches,  except  when 
otherwise  indicated. 


Washington,  D.  C. 
January,  1892. 


ISTORY  OF  THE 

CORCORAN  GALLERY 

OF  ART. 


* The  Corcoran  Gallery  of  Art,  including 
ground,  building,  its  contents,  and  endowment  fund,  is  the 
gift  of  the  late  Mr.  William  Wilson  Corcoran  to  the  public.  In 
his  own  words  to  the  Trustees  to  whom  the  property  was 
deeded  May  10,  1869,  “it  was  designed  for  the  encouragement 
of  the  Fine  Arts;”  and  in  the  deed  the  object  of  the  Institution 
is  stated  as  “the  perpetual  establishment  and  encouragement 
of  Painting,  Sculpture,  and  the  Fine  Arts  generally,”  with  the 
condition  that  it  should  be  open  to  visitors  without  any  pecu- 
niary charge  whatever  at  least  two  days  in  each  week,  with 
authority  to  charge  for  admission  at  other  times  such  moderate 
and  reasonable  fee  as  may  be  prescribed,  the  proceeds  arising 
therefrom  to  be  applied  to  the  current  expenses  of  the  Institu- 
tion. 

The  Institution  was  chartered  by  act  of  Congress  May  24, 
1870.  By  that  act  the  building  and  its  contents  were  declared 
exempt  from  all  taxation. 

The  building  was  designed  by  Mr.  James  Renwick,  architect, 
and  begun  in  1859,  but  before  completion,  early  in  1861,  it  was 


8 


HISTORY  OF  THE  CORCORAN  GALLERY  OF  ART. 


occupied  by  the  United  States  Quartermaster-General’s  Depart- 
ment until  1869. 

On  the  10th  of  May,  1869,  its  owner  placed  it  in  the  hands 
of  a board  of  nine  Trustees  for  the  purposes  already  named. 
After  the  Institution  was  incorporated  by  Congress,  in  1870,  the 
general  work  of  reconstruction  and  adaptation  of  the  building 
to  its  original  purpose  was  begun,  and  finished  in  1871. 

On  the  22 d of  February,  1871,  Mr.  Corcoran  gave  a grand 
ball  and  reception  in  the  building  in  honor  of  the  day,  the  pro- 
ceeds of  which  he  presented  to  the  fund  of  the  Washington 
Monument  Society.  In  1873  a Trustee  went  to  Europe  em- 
powered to  purchase  works  of  art  for  the  Gallery,  and  Mr. 
Corcoran’s  private  collection  of  pictures  and  statuary  was  then 
placed  in  it.  On  November  6,  1873,  the  Board  of  Trustees 
completed  the  organization  of  the  Institution. 

On  the  19th  of  January,  1874,  the  Picture  Galleries,  Octagon 
Room,  and  the  Hall  of  Bronzes  were  thrown  open  for  private 
exhibition  by  day  and  night,  Mr.  Corcoran  receiving  the  con- 
gratulations of  his  friends  upon  the  fulfilment  thus  far  of  his 
munificent  plans. 

On  April  29,  1874,  the  Halls  of  Sculpture  and  of  Bronzes  were 
opened  to  the  public,  and  in  December,  1874,  the  two  side 
galleries  of  sculpture  adjoining  the  Main  Hall;  so  that  all  the 
rooms  of  the  Institution  for  exhibition  purposes  were  then 
opened  to  the  public. 


SECOND  FLOOR. 


FIRST  FLOOR. 


Corcoran  school  or  art  [||  Tayloe  collection 

24 . fci  2<«  - 4* 


east  corner  of  Pennsylvania  avenue 
and  Seventeenth  street,  fronting  106'  7"  on  the  Avenue  and 
125'  6"  on  Seventeenth  street.  It  is  two  stories  in  height, 
in  the  Renaissance  style,  built  of  brick,  with  brown-stone 
facings  and  ornaments,  a Mansard  roof  rising  10  feet,  hav- 
ing a large  central  pavilion  and  a smaller  one  at  each  corner 
facing  the  streets.  The  front,  under  the  main  and  corner  pa- 
vilions, is  divided  into  recesses  by  pilasters  with  foliated  capitals, 
and  is  ornamented  with  wreaths,  with  the  monogram  of  the 
founder,  and  over  the  central  pavilion  is  the  inscription : “ Ded- 
icated to  Art.” 

In  the  central  pediment  is  a large  bronze  medallion  profile 
portrait  of  Mr.  Corcoran,  with  decorations  of  foliage,  and  on 
the  tops  of  the  two  columns  are  bronze  groups  of  children 
holding  garlands,  and  the  emblems  of  architecture  and  music. 

On  the  front  of  the  building  are  four,  and  on  the  side  seven 
niches  with  statues  7 feet  high.  The  first  group  contains 
those  of  Phidias,  Raphael,  Michael  Angelo,  and  Albert  Durer; 
the  latter  those  of  Titian,  Da  Vinci,  Rubens,  Rembrandt, 


10 


DESCRIPTION  OF  THE  BUILDING. 


I I 

Murillo,  Canova,  and  Crawford.  They  were  executed  by  M. 
Ezekiel,  a native  artist.  The  bronze  medallion  of  Mr.  Corcoran 
and  the  groups  of  children  are  also  his  works. 

A pair  of  colossal  bronze  Lions,  one  at  either  side,  rest  upon 
the  stone  coping  of  the  steps  at  the  entrance  to  the  building. 
These  were  cast  from  moulds  made  over  the  famous  lions  by 
Canova,  at  the  tomb  of  Clement  XIII,  in  St.  Peter’s,  Rome. 

In  the  rear  of  the  Gallery  and  facing  upon  Seventeenth  street 
is  a building  24  feet  wide  and  extending  back  106  feet,  erected 
during  the  summer  of  1889,  for  the  accommodation  of  the  Cor- 
coran School  of  Art.  This  building  is  one  story  high  in  front, 
which  portion  contains  three  class-rooms,  each  lighted  by  an 
ample  skylight.  In  the  rear,  on  the  first  floor,  is  a room 
24  x 44  feet,  which  communicates  with  the  Sculpture  Hall  of 
the  Gallery,  and  contains  the  Tayloe  Collection,  bequeathed  to 
the  Gallery  by  Mrs.  B.  O.  Tayloe,  of  Washington,  D.  C.  Over 
this  is  a room  of  the  same  size,  for  the  life  class  of  the  School. 

INTERIOR  OF  THE  BUILDING. 

On  each  side  of  the  inner  stairway  a corridor,  lighted  from 
the  open  courts,  leads  to  the  vestibule  of  the  Main  Hall  of 
Sculpture,  with  which  the  vestibule  communicates  through 
three  arched  entrances.  This  Hall,  95  x 24  feet,  is  lighted  by 
windows  on  the  north  side,  and  opens  into  two  adjoining  gal- 
leries of  sculpture  on  the  east  side  of  the  building  and  into  the 
room  containing  the  Tayloe  Collection.  On  the  west  side  it 
opens  into  the  Hall  of  Bronzes,  &c.,  62  x 19  feet.  This  last 
also  communicates  with  the  Trustees’  room.  The  central  por- 
tion of  the  ceiling  of  this  Hall,  panelled  and  richly  decorated,  is 
supported  by  four  Corinthian  columns,  with  gilt  capitals.  The 
height  of  this  story  is  19'  9". 

The  Picture  galleries  are  in  the  second  story.  The  ascent  to 
the  main  gallery  is  a notable  feature  of  the  building.  The  stair- 


2 


DESCRIPTION  OF  THE  BUILDING. 


way  leads  to  an  upper  landing,  with  decorated  arched  ceiling, 
and  Corinthian  pilasters  dividing  the  arched  recesses  over  the 
eight  windows,  with  spaces  between. 

The  Main  Picture  Gallery  is  95  feet  by  44  feet,  with  a height 
of  24  feet  to  the  cornice  of  the  arched  ceiling,  and  38  feet  to  the 
inner  skylight.  The  ceiling  is  richly  frescoed  and  gilded.  The 
scroll-work  decoration  is  in  the  Italian  style  of  the  1 6th  cen- 
tury. In  the  middle  of  the  panel  opposite  the  main  entrance 
is  the  figure  of  Minerva,  and  in  the  middle  of  the  other  panels 
the  muses  of  Sculpture,  Painting,  and  Architecture,  all  full 
length.  Between  them  are  medallion-portraits  of  Giulio  Ro- 
mano, Titian,  Raphael,  Rubens,  Van  Dyck,  Diirer,  M.  Angelo, 
Holbein,  Murillo,  Cranach,  Teniers,  and  Da  Vinci.  Between 
the  brackets  of  the  cornice  are  the  names  and  dates  of  forty-six 
painters  of  different  countries,  from  Cimabue  to  Fortuny.  This 
decorative  work  was  done  by  Mr.  Vincenzo  Stiepevich.  All 
of  the  picture  galleries  are  lighted  from  the  roof,  and  supplied 
with  ample  electric  lights  for  night  exhibitions. 

On  the  east  and  west  sides  of  the  building  the  Main  Gallery 
opens  into  smaller  ones,  and  these  again  into  two  corner  gal- 
leries in  the  front  of  the  building.  Between  the  corner  galle- 
ries, and  immediately  opposite  the  entrance  to  the  Main  Gal- 
lery, is  the  Octagon  Room.  It  has  a skylight,  but  is  chiefly 
lighted  by  a south  window,  suitably  screened,  and  contains  a 
number  of  marble  busts,  with  the  Greek  Slave,  by  Hiram 
Powers,  as  the  central  ornament. 

The  Gallery  is  open  every  day  (Sundays,  the  Fourth  of  July, 
and  Christmas  day  excepted),  from  9.30  A.  M.  to  4 P.  M.  from 
October  1st  to  May  1st,  and  from  9 A.  M.  to  4 P.  M.  from  May 
1 st  to  October  1st.  On  other  public  holidays  from  10  A.  M. 
to  2 P.  M. 

On  holidays  and  Tuesdays,  Thursdays,  and  Saturdays  the 
admittance  is  free. 


DESCRIPTION  OF  THE  BUILDING. 


13 

On  Mondays,  Wednesdays,  and  Fridays  an  admittance  fee  of 
25  cents  is  charged. 

Children  under  six  years  of  age  will  not  be  admitted  to  the 
Gallery,  and  none  between  six  and  fourteen  years  will  be 
admitted  unless  accompanied  by  a parent  or  guardian. 

For  information  concerning  copying,  Art  Education,  &c.,  see 
Rules  and  Regulations,  separately  printed,  to  be  had  by  appli- 
cation to  the  Curator. 


PAINTINGS. 


PORTRAIT  OF  MR.  CORCORAN. 

Born  December  27,  1798.  Died  February  24,  1888. 
98X70.  Painted  1867. 

CHARLES  L.  ELLIOTT. 


PORTRAIT  OF  WILLIAM  CULLEN  BRYANT. 

24X20.  1854. 

CHARLES  L.  ELLIOTT. 


Bequeathed  to  the  Gallery  by  the  late  J.  C.  McGuire. 


Note.— The  dimensions  of  paintings  in  this  Catalogue  are  given  in  inches , 
the  figures  named  first  indicating  the  height , the  others  the  width  of  the  canvas . 

■5 


PAINTINGS. 


3- 

PORTRAIT  OF  COL.  THOMAS  McKENNEY. 

29^x24. 

CHARLES  L.  ELLIOTT. 

Bequeathed  to  the  Gallery  by  the  late  J.  C.  McGuire. 


4- 

UNFINISHED  HEAD  OF  A ROMAN  GIRL. 

22x18.  1868. 

CHARLES  L.  ELLIOTT. 


5- 

PORTRAIT  OF  A.  B.  DURAND. 

27X22.  1864. 

CHARLES  L.  ELLIOTT. 


6. 

PORTRAIT  OF  HORATIO  STONE. 

24x20. 

CHARLES  L.  ELLIOTT. 

Presented  by  Samuel  P.  Avery. 


7* 

THE  DEPARTURE. 

35x44.  1837. 

THOMAS  COLE. 


8. 

THE  RETURN. 

35x44.  >837. 
THOMAS  COLE. 


PAINTINGS. 


*7 


9- 

THE  TORNADO. 

45x64.  1831. 

THOMAS  COLE. 


10. 

THE  WATERING  PLACE. 

40^x68. 

ADOLPHE  SCHREYER. 


II. 

NEDJMA— ODALISQUE. 

43x60.  1874. 

GnSTON  CASIMIR  SAINT  PIERRE. 


12. 

PORTRAIT  OF  A CHILD. 

55X30-  >835. 

ASHER  BROWN  DURAND. 
Presented  by  Mrs.  E.  J.  Stone. 


13- 

EDGE  OF  THE  FOREST. 

78x64.  1871. 

ASHER  BROWN  DURAND. 

14. 

THE  VESTAL  TUCCIA. 

54X983^.  Rome.  1874. 

HECTOR  LE  ROUX. 

This  picture  carried  off  a second-class  gold  medal  at  the  Paris  Exposition  of 
1874 — on  the  catalogue  No.  1194.  The  Vestal  Tuccia,  charged  with  want  of 
chastity,  stands  on  the  brink  of  the  Tiber  with  a sieve,  which  she  raises  above  heT 


8 


PAINTINGS. 


head  with  both  hands,  and  thus  prays  to  Vesta:  “Oh,  powerful  Goddess,  if  1 
have  always  approached  thy  altar  with  pure  hands,  allow  me  to  fill  this  sieve  with 
the  water  of  the  Tiber,  and  carry  it  into  thy  Temple  !” 


1 5- 

THE  HEIR  PRESUMPTIVE, 

42x72.  1873. 

GEORGE  HENRY  BOUGHTON. 


1 6. 

FEMALE  HEAD. 

18KX2134. 
THOMAS  COUTURE. 


17- 

THE  DROVE  AT. THE  FORD. 

54x38.  1874. 

JAMES  McDOUGAL  HART. 


18. 

THE  FARM  IN  THE  WOOD. 

15KX26. 

THEODORE  ROUSSEAU. 

From  the  Secretan  Collection,'  Paris,  July,  1889. 


19- 

FESTIVAL  OF  SANTA  LUCIA,  NAPLES. 

60x81.  1886. 

OSWALD  ACHENBACH. 


PAINTINGS. 


*9 


20. 

CROMWELL  AND  MILTON. 

60x84.  1854. 

EMANUEL  LEUTZE. 


21. 

THE  AMAZON  AND  HER  CHILDREN. 

41x62.  1851. 

EMANUEL  LEUTZE. 


22. 

PORTRAIT  OF  GENERAL  ANDREW  JACKSON. 

95x60.  1825. 

THOMAS  SULLY. 


23- 

PORTRAIT  OF  THOMAS  SULLY. 

30x25. 

THOMAS  SULLY. 


24- 

IDEAL  FEMALE  HEAD. 

30x25. 

THOMAS  SULLY. 


25- 

PORTRAIT  OF  CHIEF-JUSTICE  JOHN  MARSHALL 

35KX27K. 

THOMAS  SULLY. 


20 


PAINTINGS. 


26. 

PORTRAIT  OF  PRESIDENT  JAMES  MADISON. 

27^x19^- 

THOMAS  SULLY. 

Finished  April  6,  1809. 

Presented  by  Frederick  E.  Church. 


27- 

PADDY’S  MARK. 
24x32.  1868. 
ERSKINE  N1COL. 


RUINS  OF  THE  PARTHENON. 


28x52.  1880. 

SANFORD  R.  GIFFORD. 


29- 

GOING  TO  DRINK. 

27x35- 

CONSTANTINE  TROYON. 


30. 

MERCY’S  DREAM. 

89x69.  1850. 

DANIEL  HUNTINGTON. 

The  scene  which  this  picture  illustrates  is  from  Bunyan’s  Pilgrim’s  Progress, 
and  is  as  follows:  “A  sweet  dream  it  was.  * * * Methought  I looked  up 
and  saw  one  coming  with  wings  towards  me.  So  he  came  directly  to  me,  and 
said,  ‘ Mercy,  what  aileth  thee  ? ’ Now,  when  he  had  heard  me  make  my  com- 
plaint, he  said,  ‘ Peace  be  to  thee  ! ’ He  also  wiped  my  eyes  with  his  handkerchief, 
and  clad  me  in  silver  and  gold.  He  put  a chain  about  my  neck,  and  ear-rings  in 
my  ears,  and  a beautiful  crown  upon  my  head.” 


PAINTINGS. 


21 


3>- 

NIAGARA  FALLS. 

42x89.  1857. 

FREDERICK  EDWIN  CHURCH 
From  the  John  Taylor  Johnson  Collection. 


32. 

SCENERY  OF  THE  MAGDALENA  RIVER,  GRANADA,  S.  A 

26x36.  1854. 

FREDERICK  EDWIN  CHURCH. 


33* 

THE  YOUNG  SAVOYARD  MUSICIAN. 

36x24.  1873. 

A.  COLLETTE. 


34- 

NIGHT. 
84x52.  1867. 
ALBOY  REBOUE1 


35- 

C/ESAR  DEAD.  { 

86x125. 

JEAN  LEON  GEROME. 


36. 

DEPARTURE  FOR  THE  HUNT.— INDIA. 

38X52.  1884. 

EDWIN  LORD  WEEKS 


22 


PAINTINGS. 


ON  THE  COAST  OF  NEW  JERSEY. 

40x72.  1883. 

WILLIAM  T.  RICHARDS. 

Painted  to  order  for  this  Gallery. 

38. 

CATTLE  ON  THE  SEA-SHORE  NEAR  SCHEVENINGEN, 

HOLLAND. 

42x64.  1881. 

RICHARD  BURNIER. 

Awarded  a gold  medal  at  the  Brussels  Exposition  of  1881. 


39- 

' THE  HARBOR  OF  NEW  YORK. 

46x70.  1885. 

HARRY  CHASE. 

Awarded  the  Hallgarten  Prize,  National  Academy  of  Design,  N.  Y.,  1885. 

40. 

ADORATION  OF  THE  SHEPHERDS. 

104x60. 

RAPHAEL  MENGS. 

From  the  Collection  of  Joseph  Bonaparte. 


41- 

GIRL  AND  PETS. 

24^X28^.  1856. 

EASTMAN  JOHNSON. 


PAINTINGS. 


23 


42. 

GROUP  OF  DOGS. 

36^x56^'.  1885. 

MATILDA  LOTZ. 
Presented  by  the  Artist. 


43- 

REBECCA  AT  THE  WELL. 

39X32.  1852. 

THOMAS  P.  ROSSITER. 


44. 

BRETON  WIDOW. 

36x31.  1886. 

JULES  ADOLPHE  BRETON. 

Represents  a sailor’s  widow,  who  seeks  the  altar  of  St.  Ann,  the  virgin  patroness 
of  Brittany  sailors,  with  a taper  to  the  memory  of  her  husband. 


45- 

THE  TALKING  WELL. 

71x38.  1873. 

ANATOLE  VELY. 

46. 

THE  HELPING  HAND. 

60x89.  1881. 

EMILE  RENOUF. 

From  theSeney  Collection.  Exhibited  in  the  Exposition  Universelle,  Paris,  1889, 
by  request  of  the  Artist. 


24 


PAINTINGS. 


47- 

PROCESSION  OF  THE  SACRED  BULL  APIS-OSIRIS. 

36x69.  1879. 

FREDERICK  A.  BRIDGMAN. 

When  the  ancient  Egyptians  found  a black  and  white  bull  marked  with  a tri- 
angular spot  in  the  forehead  and  a cross  on  his  back  they  believed  that  the  animal 
contained  the  spirit  of  their  god  Osiris,  and  he  was  held  sacred.  The  picture 
represents  a procession  in  his  honor. 

48. 

LADY  AND  DOG. 

50x30-  1876. 

BENJAMIN  CURTIS  PORTER. 

49. 

THE  JUDGMENT  OF  PARIS. 

50x40.  1861. 

HENRY  PETERS  GRAY 

50. 

A SHOWER. 

20X31.  1880. 

LUIGI  CHIALIVA. 

51- 

FINE  WEATHER. 

20X31.  1880. 

LUIGI  CHIALIVA. 

52. 

POPE  JULIUS  II,  WITH  RAPHAEL,  M.  ANGELO,  V1TTORIA 
COLONNA,  AND  BRAMANTE,  VIEWING  THE  EX- 
HUMED STATUE  OF  THE  APOLLO  BELVEDERE. 
55^X77-  >887. 

CARL  (LUDWIG  FRIEDERICH)  BECKER. 


PAINTINGS. 


2 


53- 

LOST  DOGS. 

57^X47  K-  '873. 

OTTO  VON  THOREN 

54- 

ROME,  FROM  MOUNT  AVENTINE. 

38^x65.  1880. 

JOHN  ROLLIN  TILTON. 

55- 

VENETIAN  FISHING  BOATS. 

36X48.  Rome,  18 — . 

JOHN  ROLLIN  TILTON. 

56. 

SKETCH  OF  MOUNT  WASHINGTON. 

11X20.  1851. 

JOHN  FREDERICK  KENSETT. 

57- 

HIGH  BANK,  GENESEE  RIVER. 

30x48.  1857. 

JOHN  FREDERICK  KENSETT. 

58- 

AUTUMN  AFTERNOON  ON  LAKE  GEORGE. 

48X72.  1864. 

JOHN  FREDERICK  KENSETT 

59- 

THE  FETE  OF  ST.  JOHN  IN  DALECARLIA,  SWEDEN. 

46X90-  l874- 

HUGO  FREDRIK  SALMSON 


26 


PAINTINGS. 


6o. 

COUNT  EBERHARD  OF  WURTEMBERG  (THE  WEEPER). 

65x76. 

ARY  SCHEFFER. 

The  subject  of  this  picture  is  as  follows:  Ulrich,  son  of  Count  Eberhard,  had 
lost  the  battle  of  Reutlingen,  and  was  dangerously  wounded.  Many  of  the  no- 
bility were  slain.  On  his  recovery  he  leisurely  sought  his  father,  at  Stuttgard, 
and  found  him  over  his  solitary  meal.  He  was  coldly  received.  Not  a word 
was  spoken.  With  downcast  eyes  he  placed  himself  opposite  his  father.  Fish 
and  wine  were  served  to  him.  The  old  count  seized  a knife,  and  cut  the  table- 
cloth between  them.  Frenzied  by  this  insult,  Ulrich  rushed  into  the  middle  of 
the  next  fight,  gains  the  battle  of  Doffingen,  and  is  slain. — Ballad  of  Uhland. 

“ And  while  we  were  celebrating  the  victory  in  our  camp,  what  was  our  old 
Count  doing  ? Alone  in  his  tent,  weeping  over  the  dead  body  of  his  only  son  ! ” 
— Ballad  of  Schiller. 


6 1. 

SNOW  SCENE— MOONRISE. 

1873. 

EMILE  ADELARD  BRETON. 

62. 

SUNSET. 

43x66.  1869. 

EMILE  ADELARD  BRETON. 

63- 

SPRING  LANDSCAPE. 

39X63.  1873. 

LOUIS  AIME  JAPY. 

64. 

TWILIGHT. 

39X63.  1873. 

LOUIS  AIME  JAPY. 


PAINTINGS. 


2? 


65.  • 

MONK  FISHING. 

36x28.  1874. 

LOUIS  AUGUSTE  GEORGE  LOUSTAUNAU. 

66. 

THE  DISPUTED  SHOT. 

36x29. 

J.  M.  STANLEY. 

67- 

PORTRAIT  OF  EDWARD  G.  MALBONE. 

28x24. 

EDWARD  G.  MALBONE. 

68. 

PORTRAIT  OF  JOHN  RANDOLPH  OF  ROANOKE. 

30x25.  1830. 

CHESTER  HARDING. 

69. 

THE  DEATH  OF  MOSES. 

112x156.  1851. 

ALEXANDERXABANEL. 

70.  J 

CHARLOTTE  CORDAY  IN  PRISON. 

41X32^.  1875. 

CHARLES  LOUIS  MULLER. 

71- 

PORTRAIT  OF  CHIEF-JUSTICE  SHIPPEN,  of  Pennsylvania. 

29x24. 

GILBERT,  STUART. 


28 


PAINTINGS. 


72. 

PORTRAIT  OF  M.  F.  P.  G.  GUIZOT. 

94x68.  1841. 

G.  P.  A.  HEALY. 

This  portrait  of  the  historian  and  the  Prime  Minister  of  Louis  Philippe  was 
painted  in  Paris,  1841,  to  the  order  of  some  American  residents  there,  in  compli- 
ment to  the  French  statesman  for  his  memoir  of  George  Washington.  The 
picture  was  presented  by  them  to  the  National  Institute,  a scientific  association 
then  existing  in  Washington.  When  that  body  no  longer  existed,  the  painting 
was  sent  to  the  Smithsonian  Institution,  and  thence  transferred  to  the  keeping  of 
The  Corcoran  Gallery  of  Art. 


73- 

PORTRAIT  OF  ROBERT  M.  McLANE. 

60x42.  1887. 

G.  P.  A.  HEALY. 

Presented  to  Mr.  Corcoran  by  Mr.  McLane. 


74- 

PORTRAIT  OF  MRS.  R.  C.  M.  PAGE, 

67x47-  >859. 

G.  P.  A.  HEALY. 

Presented  by  Dr.  R.  C.  M.  Page. 


75- 

PORTRAIT  OF  GEORGE  WASHINGTON. 

27X22.  (After  Stuart.) 

G.  P.  A.  HEALY. 


76. 

PORTRAIT  OF  MARTHA  WASHINGTON. 

27X22.  (After  Stuart.) 

G.  P.  A.  HEALY. 


PAINTINGS. 


29 


77- 

PORTRAIT  OF  PRESIDENT  JOHN  ADAMS. 

30X25.  (After  Stuart.)  i860. 

G.  P.  A.  HEALY. 


78- 

PORTRAIT  OF  PRESIDENT  THOMAS  JEFFERSON. 

30X25.  (After  Stuart.) 

G.  P.  A.  HEALY. 


79- 

PORTRAIT  OF  PRESIDENT  JAMES  MADISON. 

30X25.  (After  C.  Harding.) 

G.  P.  A.  HEALY. 


80. 

PORTRAIT  OF  PRESIDENT  JAMES  MONROE. 

30X25.  (A  copy.) 

G.  P.  A.  HEALY. 

81. 

PORTRAIT  OF  PRESIDENT  J.  a ADAMS. 

30x25.  1858. 

G.  P.  A.  HEALY. 


82. 

PORTRAIT  OF  PRESIDENT  ANDREW  JACKSON. 

30x25.  1845. 

G.  P.  A.  HEALY. 

Painted  at  the  Hermitage  a short  time  before  the  death  of  President  Jackson. 


30 


PAINTINGS. 


83. 

PORTRAIT  OF  PRESIDENT  MARTIN  VAN  BUREN. 

30x25.  1857. 

G.  P.  A.  HEALY. 

84. 

PORTRAIT  OF  PRESIDENT  WILLIAM  H.  HARRISON. 

30X25.  (From  a portrait  byj.  H.  Beard,  1840.)  1879. 

E.  F.  ANDREWS. 

85- 

PORTRAIT  OF  PRESIDENT  JOHN  TYLER. 

30X25.  1842. 

G.  P.  A.  HEALY. 

86. 

PORTRAIT  OF  PRESIDENT  JAMES  K.  POLK. 

30x25.  1846. 

G.  P.  A.  HEALY. 


87- 

PORTRAIT  OF  PRESIDENT  ZACHARY  TAYLOR. 

30X25.  (From  a portrait  by  Amans.)  i860. 

G.  P.  A.  HEALY. 


88. 

PORTRAIT  OF  PRESIDENT  MILLARD  FILLMORE. 

30x25. 

G.  P.  A.  HEALY. 


PAINTINGS. 


3 


89. 

PORTRAIT  OF  PRESIDENT  FRANKLIN  PIERCE. 

30x25.  1852. 

G.  P.  A.  HEALY. 


90. 

PORTRAIT  OF  PRESIDENT  JAMES  BUCHANAN. 

30x25.  1859. 

G.  P.  A.  HEALY. 


91* 

PORTRAIT  OF  PRESIDENT  ABRAHAM  LINCOLN. 

30x25.  i860. 

G.  P.  A.  HEALY. 

[The  portraits  from  76  to  92,  inclusive,  were  painted  for  a series  ordered  by 
Louis  Philippe  for  the  Versailles  Gallery.] 


92. 

PORTRAIT  OF  PRESIDENT  ANDREW  JOHNSON. 

30x25.  1882. 

E.  F.  ANDREWS. 


PORTRAIT  OF  PRESIDENT  ULYSSES  S.  GRANT. 

30x25.  1882. 

HENRY  ULKE. 


94- 

PORTRAIT  OF  PRESIDENT  RUTHERFORD  B.  HAYES. 

30x25.  1881. 

E.  F.  ANDREWS. 


32 


PAINTINGS. 


95- 

PORTRAIT  OF  PRESIDENT  JAMES  A.  GARFIELD. 

30x25.  1883. 

W.  T.  MATHEWS. 

96. 

PORTRAIT  OF  PRESIDENT  CHESTER  A.  ARTHUR. 

30x25.  1884. 

G.  P.  A.  HEALY. 


97- 

PORTRAIT  OF  PRESIDENT  GROVER  CLEVELAND. 

30x25.  1891. 

S.  JEROME  UHL. 


98. 


99. 


IOO. 


PAINTINGS. 


33 


10 1 . 


102. 

CRAYON  PORTRAIT  OF  STEPHEN  A.  DOUGLAS. 

22x18.  i860. 

JULES  EMILE  SAINTIN. 

Presented  by  the  artist. 


103. 

PORTRAIT  OF  WILLIAM  C.  PRESTON  (S.  C.). 

36x29. 

G.  P.  A.  HEALY. 

From  the  Smithsonian  Institution. 

104. 

PORTRAIT  OF  GEORGE  PEABODY. 

30x25.  1854. 

G.  P.  A.  HEALY. 

105. 

PORTRAIT  OF  MRS.  GROVES  (England). 

29^x243^. 

Sir  JOSHUA  REYNOLDS. 

Presented  by  Henry  Adams. 


106. 

PORTRAIT  OF  MR.  GROVES  (England). 

29^x243^. 

Sir  JOSHUA  REYNOLDS. 

Presented  by  Henry  Adams. 


34 


PAINTINGS. 


IO7. 

PORTRAIT. 

29x24. 

Attributed  to  Sir  PETER  LELY. 


108. 

PORTRAIT  OF  JOHN  HOWARD  PAYNE. 

34x27. 

JOHN  WESLEY  JARVIS. 

This  portrait  of  the  author  of  “Home,  Sweet  Home”  was  painted  for  Mr. 
Meredith,  of  Baltimore,  when  Payne  was  about  1 7 years  of  age.  It  was  presented 
to  Mr.  Corcoran  by  Mr.  Gilmor  Meredith. 


109. 

WINTER  SCENE. 

36x50.  1850. 

REGIS  GIGNOUX. 


I IO. 

LANDSCAPE. 

34X30.  1840. 

REGIS  GIGNOUX. 


I I I. 

PORTRAIT  OF  JACQUES  HENRI  BERNARDIN  DE  SAINT 

PIERRE. 

28X23.  1808. 

REMBRANDT  PEALE. 

This  portrait  of  the  author  of  “ Paul  and  Virginia”  was  painted  from  life. 
Presented  by  George  W.  Riggs. 


PAINTINGS. 


35 


I 12. 

PORTRAIT  OF  M.  LASTEYRIE. 

28x23. 

REMBRANDT  PEALE. 

This  picture,  according  to  an  inscription  on  its  back,  is  the  portrait  of  a “ dis- 
tinguished French  economist  and  author — the  first  to  establish  a museum  of 
natural  history,  and  writer  on  cotton  and  merino  sheep,”  and  was  painted  in 
Paris  (no  date),  by  Rembrandt  Peale,  for  the  Philadelphia  Museum. 


1 1> 

THE  FARM  HOUSE. 

35x44. 

GEORGE  MORLAND. 


I 14. 

MOONRISE  IN  MADEIRA. 

36x48.  1856. 

EDUARD  H1LDEBRANDT. 


115. 

SHAKESPEARE  AND  HIS  CONTEMPORARIES. 

53x673^. 

JOHN  FAED. 


I 1 6. 

FRENCH  CUIRASSIERS  BRINGING  IN  BAVARIAN 
PRISONERS. 

17X22.  1875.  Water-color. 

EDOUARD  DETAILLE. 


3^ 


PAINTINGS. 


1 17* 

THE  PASSING  REGIMENT. 

50x50-  >875. 

EDOUARD  DETAILLE. 

This  picture  first  appeared  in  the  Paris  Exposition  of  1875;  and  was  afterwards 
exhibited  in  Brussels,  where  it  was  purchased  for  this  Gallery.  Exhibited  at  the 
Exhibition  Universelle,  Paris,  1889,  by  request  of  the  artist. 

I 18. 

THE  MASK,  or  FUN  AND  FRIGHT. 

30x42.  1874. 

GAETANO  CHIERICI. 

1 19. 

SOUVENIRS  OF  THE  SIXTEENTH  AND  SEVENTEENTH 

CENTURIES. 

40x36.  1874. 

BLAISE  ALEXANDER  DESGOFFE. 


120. 

A FAMILY  OF  SATYRS. 

78x86.  1874. 

LOUIS  PRIOU. 

Took  gold  medal  of  the  first  class  at  the  Paris  Exposition,  1874. 

1 2 1 . 

SUNDAY  MORNING  IN  AUVERGNE. 

35x46.  1874. 

J.  A.  BAIL. 

122. 

CONSTANTINOPLE,  FROM  THE  GOLDEN  HORN. 

32x50.  1874. 

FELIX  ZIEM. 


PAINTINGS. 


31 


1 23- 

FLOWER  PIECE. 

14x17-  1872. 

E.  G.  COUDER. 


124. 

FLOWER  PIECE. 

45x58.  1873. 

E.  G.  COUDER. 


125. 

TROUT  BROOK  IN  THE  CATSKILLS. 

34x48.  1875. 

WORTHINGTON  WHITTREDGE. 


126. 

IDEAL  HEAD. 

27x22.  1865. 

GEORGE  A.  BAKER. 


I27. 

PORTRAIT  OF  HENRY  CLAY. 

26^x21^. 

Attributed  to  HENRY  INMAN. 


128. 

WOOD-GATHERERS. 

44x63.  1875. 

JEAN  BAPTISTE  CAMILLE  COROT. 
From  the  Morgan  Collection,  New  York,  1880. 


38 


PAINTINGS. 


129. 

THE  FORESTER’S  HOME. 

40x56.  1886. 

LUDWIG  KNAUS. 

130. 

ON  THE  PINCIAN  HILL,  ROME. 

(Cardinal  questioning  Acolytes.) 

33X55. 

FERDINAND  HEILBUTH. 

UN- 
MOUNT CORCORAN. 

(Southern  Sierra  Nevada.) 

60x96.  1875. 

ALBERT  BIERSTADT. 

The  peak  rises  14,094  feet,  and  was  named  in  compliment  to  Mr.  Corcoran. 

• 

132. 

PORTRAIT  OF  G.  W.  PARKE  CUSTIS, 

(of  Arlington,  Va.) 

36x29. 

SAMUEL  WALDO. 

133- 

BEACH  AT  SCHEVENINGEN,  HOLLAND. 

27x54.  1874. 

FREDERICK  HENDRICK  KAEMMERER. 

134. 

THE  PATRIARCH’S  ARGUMENT. 

24x20. 

JOHANNES  A.  OERTEL. 


PAINTINGS. 


39 


135- 

PORTRAIT  OF  SiR  MOSES  MONTEFIORE, 

(at  the  age  of  ioo  years.) 

43^X35^-  l886- 

GEORGE  DA  MADURA  PEIXOTTO. 

136. 

A PASTORAL  VISIT. 

46x62.  1881. 

RICHARD  NORRIS  BROOKE. 


137- 

PORTRAIT  OF  HENRY  CLAY. 

36x28.  1822. 

CHARLES  B.  KING. 


138. 

PORTRAIT  OF  J.  C.  CALHOUN, 

(when  Secretary  of  War.) 

30x25. 

CHARLES  B.  KING. 

^39- 

MID-DAY  DREAMS. 

50X35.  1886. 

CLIFFORD  PREVOST  GRAYSON. 

Awarded  to  the  Corcoran  Gallery  in  the  Competitive  Exhibition  by  the  Ameri- 
can Art  Association,  New  York,  1886. 


140. 

PORTRAIT  OF  COMMODORE  M.  F.  MAURY. 

36x46.  1882. 

(From  a photograph.) 

LOUIS  MATTHIEW  DID1ER  GUILLAUME. 


40 


PAINTINGS. 


141- 

PIAZZA  OF  ST.  PETER'S,  ROME. 

21x64.  1853. 

ANTONIO  MORETTI. 


142. 

THE  FORUM,  FROM  THE  TABULARIUM,  ROME. 

21x64.  1853. 

ANTONIO  MORETTI. 


143- 

PORTRAIT  OF  GENERAL  R.  E.  LEE. 

48x40- 

J.  A.  ELDER. 


144- 

PORTRAIT  OF  GENERAL  T.  J.  JACKSON. 

48x40. 

J.  A.  ELDER. 


145- 

PORTRAIT  OF  WILLIAM  PAGE. 

24x20.  1876. 

THOMAS  Le  CLEAR. 


146. 

ALEXANDER  II  OF  RUSSIA,  RECEIVING  THE  RESOLU- 
TIONS OF  CONGRATULATION  ON  HIS  ESCAPE 
FROM  ASSASSINATION,  PASSED  BY 
CONGRESS,  AUGUST,  1 866. 

45X58. 

L.  EUGENE  Le  ROUX. 

Presented  by  Mrs.  G.  V.  Fox. 


PAINTINGS. 


41 


^47- 

PORTRAIT  OF  PRESIDENT  ZACHARY  TAYLOR. 

30x25.  1852. 

Painted  from  life. 

JOHN  VANDERLYN. 

148. 

AUTUMN  SCENE  ON  THE  HUDSON. 

34x48.  1850. 

THOMAS  DOUGHTY. 

149- 

LANDSCAPE. 

7x15. 

THOMAS  DOUGHTY. 

150. 

JUSTICE  TO  LIEVIN  PYN. 

45X71 . 1862. 

FERDINAND  PAUWELS. 

Lievin  Pyn,  First  Magistrate  of  Ghent  (1541),  was  wrongly  accused  by  his  am- 
bitious colleagues,  and  beheaded  by  order  of  Charles  V.  Afterwards,  the  emperor, 
convinced  of  his  innocence,  ordered  solemn  mass,  and  a proclamation  to  be  read 
by  the  priest  declaring  Pyn’s  innocence,  in  the  presence  of  his  mourning  family 
and  four  of  his  accusers. 

From  the  Strousberg  Collection,  Berlin. 


151- 

BALL  PLAYING  AMONG  THE  SIOUX  INDIANS. 

28x40-  1 857. 

SETH  EASTMAN. 

152. 

LAKE  SCENE  NEAR  LENOX,  MASS. 

36x49-  1850. 

W.  M.  ODDIE. 


42 


PAINTINGS. 


1 53- 

OUT-DOOR  CONCERT. 

24x22. 

E.  T.  ECKOUT. 


1 54- 

ALLEGRO  AND  PENSEROSO. 

8X14.  Allegro,  1864.  Penseroso,  1865. 
J.  G.  BROWN. 


^55- 

RETURN  FROM  MARKET. 

25x31. 

W.  BROWN. 


156. 

PORTRAIT  OF  BARON  HUMBOLDT. 

38x24. 

Madam  EMMA  G.  RICHARD. 


*57- 

FLEMISH  PICTURE. 

9X1 1.  Signed  “ Ora  et  labora,  1619.” 
Artist  unknown. 


158. 

BATTLE  PIECE. 

4^x7. 

Attributed  to  JAN  (BREUGHEL)  BRUEGHEL. 


159- 

SCENE  AT  FONTAINEBLEAU— COSTUME  OF  LOUIS  XI. 

31X21.  1874. 

PIERRE  CHARLES  COMTE. 


PAINTINGS. 


43 


160. 

THE  VILLAGE  DOCTOR. 

18x24.  1850. 

CHARLES  FERDINAND  VENNEMAN. 


1 6 1 . 

CHILD  READING. 

16x13- 

After  J.  G.  Meyer,  or  Meyer  Von  Bremen. 
JENNIE  OLLENROTH. 


162. 

A HOME  IN  THE  WOODS. 

26x20.  1881. 

CHARLES  LANMAN. 


163. 

CROSSING  THE  ROCKY  MOUNTAINS. 

30x44. 

E.  DOUGLASS  BREWERTON. 

164. 

GREAT  FALLS  OF  THE  POTOMAC. 

34X45-  ‘873- 

WILLIAM  MACLEOD. 


165. 

WASHINGTON’S  HEADQUARTERS  ON  THE  HUDSON. 

22x37.  185-. 

JASPER  FRANCIS  CROPSEY. 


44 


PAINTINGS. 


1 66. 

VIRGIN  AND  CHILD. 

23x19- 

Attributed  to  MURILLO. 

167. 

CHRIST  BOUND. 

25x15. 

Attributed  to  VAN  DYCK. 

168. 

CHILD  AND  NURSE. 

27X34-  A copy. 

BEGAS. 

169. 

THE  HUGUENOT’S  DAUGHTER. 

39X45-  l854- 

W.  D.  WASHINGTON. 


170. 

A DUTCH  SCHOOL. 

21x25. 

EUGENIUS  FRANS  DE  BLOCK. 

171. 

THE  BEGGAR  GIRL. 

32x27.  1850. 

OSCAR  BEGAS. 


172. 

FANNY  ELLSLER  AS  LA  SYLPHIDE. 

82x59.  1832. 

KARL  BEGAS. 


PAINTINGS. 


45 


1 73- 

SEAPORT. 

15x21. 

Attributed  to  IL.  CANALETTI. 
174. 

SEAPORT. 

>3x25. 

Attributed  to  IL.  CANALETTI. 

*75- 

THE  TROJAN  HORSE. 

59x60.  1874. 

HENRI  PAUL  MOTTE. 

176. 

ITALIAN  OX-CART. 

34X22.  i860. 

A.  ROVRIARD. 

177- 

LANDSCAPE. 

19X26. 

GEORGE  INNESS. 

178. 

THE  DIFFICULT  TASK. 

27X21.  1886. 

FLORENCE  GOTTHOLD. 
Presented  by  Simon  Wolf. 


46 


PAINTINGS. 


179- 

ON  CATSKILL  CREEK. 

27x36. 

W.  B.  BOGGS. 

180. 

FLEMISH  SEAPORT— MOONLIGHT. 

29x30.  1841. 

J.  M.  CULVER. 

181. 

DOG  AND  PARROTS. 

38x32.  1847. 

F.  LACHENWITZ. 

182. 

DUCK-SHOOTING. 

30x40.  1850. 

WILLIAM  RANNEY. 

183. 

ENTRANCE  TO  THE  GOLDEN  GATE,  CALIFORNIA. 

38X72. 

JOHN  R.  KEY. 

184. 

AUTUMNAL  CORN  AND  GRAPES. 

21x17-  1875. 

B.  PERETTI. 


PAINTINGS. 


47 


185. 

THE  EMIGRANT’S  LETTER. 

20x16.  1868. 

HOWARD  HELMICK. 

186. 

LEISURE  AND  LABOR. 

15x23.  1853. 

F.  B.  MAYER. 

187. 

WOOD  SCENE,  WITH  HUNTERS. 

l6X34- 

MICHEL  BOUQUET. 

1 88. 

SCENE  IN  THE  CATSKILLS. 

21x17.  1858. 

PAUL  WEBER. 

189. 

QUAIL  AND  YOUNG. 

9^Xi3X-  1856. 

ARTHUR  FITZWILLIAM  TAIT. 

190. 

HEAD  OF  A BULL-DOG. 

n^X  13X-  i856. 

WILLIAM  JACOB  HAYS. 

191. 

THE  FORTUNE-TELLER. 

12x16. 

CESARE  MACCARI. 


48 


PAINTINGS. 


I92. 

VASE  OF  FLOWERS. 

33x24.  1873. 

GEORGE  C.  JEANNIN. 

^93- 

FRUIT. 

19x26.  1855. 

SIMON  SAINT-JEAN. 

194. 

THE  HAPPY  FAMILY. 

33x28.  1853. 

FERDINANDUS  DE  BRAEKELEER. 

*95- 

THE  UNHAPPY  FAMILY. 

33x28.  1853. 

FERDINANDUS  DE  BRAEKELEER. 
196. 

INTERIOR. 

8X  10. 

JEAN  LOUIS  DE  MARNE. 

197- 

INTERIOR. 

8x10. 

JEAN  LOUIS  DE  MARNE. 

198. 

FRUIT. 

20X21.  1842. 

JOHANN  WILHELM  PREYER. 


PAINTINGS. 


49 


1 99- 

PREPARING  FOR  CHURCH. 

18x22.  1853. 

EDOUARD  FRERE. 

From  the  John  Taylor  Johnston  Collection. 


200. 

THE  LONG  STORY. 

17X22.  1837. 

WILLIAM  SIDNEY  MOUNT. 


201. 

SOURCE  OF  THE  POTOMAC. 

72x60.  1879. 

ALEXANDER  HAMILTON  CLEMENTS. 


202. 


CASCADE. 

17^X15. 

A copy,  after  Achenbach. 


203. 

LANDSCAPE. 

34X49- 

LOUIS  ROBBE. 


204. 

SHEPHERD  AND  SHEEP. 

34X49- 

LOUIS  ROBBE. 


50 


PAINTINGS. 


205. 

AUTUMNAL  LANDSCAPE,  WITH  INDIANS. 

36x54- 

A.  FISHER. 

206. 

CASTLE  G0ND0LF0,  LAKE  ALBANO. 

36x54-  >852. 

CHRISTOPHER  PEARSE  CRANCH. 

207. 

THE  DROUGHT  IN  EGYPT. 

87x108.  1848. 

JEAN  FRANCIS  PORTAELS. 

“ How  he  had  wrought  his  signs  in  Egypt,  and  his  wonders  in  the  field  of 
Zoar;  and  hath  turned  their  rivers  into  blood;  and  their  floods,  that  they  could 
not  drink.” — Psalm  lxxviii:  43,  44. 

This  picture  took  the  special  gold  medal,  awarded  at  the  Exhibition  of  the 
Crystal  Palace,  Sydenham,  for  the  best  picture,  without  regard  to  school,  style, 
or  subject,  by  a living  artist. 


208. 

PORTRAIT  OF  T.  L.  CLINGMAN. 

45^X37- 

W.  GARL  BROWN. 

Presented  by  T.  L.  Clingman. 


209. 

AFTERNOON  IN  EARLY  JUNE. 

26x46.  1880. 

CARL  C.  BRENNER. 

210. 

PORTRAIT  OF  J.  C.  CALHOUN. 

Cabinet  size. 

WILLIAM  J.  HUBARD. 


PAINTINGS. 


5* 


21  I. 

THE  SCHISM. 

15X21.  1874. 

JEAN  GEORGES  VIBERT. 

212. 

THE  POND  OF  THE  GREAT  OAK. 

37^x29^. 

JULES  DUPRE. 

21 3- 

A HAMLET  ON  THE  SEINE,  NEAR  VERNON. 

34x58.  1872. 

CHARLES  FRANQOIS  DAUBIGNY. 

214. 

LANDSCAPE,  WITH  CATTLE. 

24x29^. 

EMILIE  VAN  MARCKE. 


215. 

JOAN  OF  ARC,  IN  INFANCY. 

22x18. 

JEAN  JACQUES  HENNER. 

216. 

PORTRAIT  OF  BENJAMIN  FRANKLIN. 

30X25.  Paris,  1782. 

JOSEPH  SIFREDE  DUPLESSIS. 

On  the  back  of  the  stretcher  is  this  inscription:  “ This  picture  of  Dr.  Franklin 
was  painted  at  Paris,  1782,  and  was  presented  by  him  to  Mr.  Wm.  Hodson,  of 
Colman  street,  as  a token  of  his  regard  and  friendship.” 


52 


PAINTINGS. 


PORTRAIT  OF  JUSTIN  S.  MORRILL,  Vermont. 


PORTRAIT  OF  PRESIDENT  JOHN  TYLER. 

36x29. 

G.  P.  A.  HEALY. 


219. 

TIGER  HUNT. 

Water-color  sketch. 
ANTOINE  LOUIS  BARYE. 


220. 

SLEEPING  LIONS. 

Water-color  sketch. 
ANTOINE  LOUIS  BARYE. 


22  I. 

THE  BANKS  OF  THE  ADIGE. 

18^x31- 

MARTIN  RICO. 


Presented  by  W.  W.  Corcoran. 


30X25.  1884. 

G.  P.  A.  HEALY. 


222. 


TWILIGHT. 

35x70.  1885. 

THOMAS  ALEXANDER  HARRISON. 


PAINTINGS. 


53 


223. 

THE  WEDDING  FESTIVAL. 

25x21.  1874. 

EUGENE  LOUIS  GABRIEL  ISABEY. 

224. 

THE  APPROACHING  STORM. 

33x4  itf-  1870. 

NARCISSE  VIRGILE  DIAZ  de  la  pena. 


225. 

MOONLIGHT  IN  HOLLAND. 

25x32. 

JEAN  CHARLES  CAZIN. 

226. 

APPROACHING  NIGHT. 

18x24.  1891. 

MAX  WEYL. 

227. 

GOING  TO  PASTURE. 

77x103.  1889. 

GAYLORD  SANGSTON  TRUESDELL. 

228. 

SUNSET  IN  THE  WOODS. 

48KX72.  1891. 

GEORGE  INNESS. 

Mr.  Inness,  under  date  of  July  23,  1891,  writes  the  following  notes  about  the 
painting : 

“ The  material  for  my  picture  was  taken  from  a sketch  made  near  Hastings, 
Westchester  county,  New  York,  twenty  years  ago.  This  picture  was  commenced 
seven  years  ago,  but  until  last  winter  I had  not  obtained  any  idea  commensurate 
with  the  impression  received  on  the  spot.  The  idea  is  to  represent  an  effect  of 
light  in  the  woods  toward  sundown,  but  to  allow  the  imagination  to  predominate.” 


Plate  I 


THE  PARTHENON. 


A.  Metopes. 

B.  Pediment. 

C.  Frieze. 

55 


CASTS  FROM 

ANTIQUE  SCULPTURE. 

THE  PARTHENON. 


Plate  I,  page  55. 


The  Parthenon,  a Doric  temple  of  white  marble,  erected 
in  honor  of  Minerva  (Athene  Polias),  the  tutular  deity  of 
Athens,  was  completed  in  the  year  438  B.  C.,  16  years  after 
its  commencement.  The  temple  was  built  during  the 
administration  of  Pericles,  who  employed  Callicrates  and 
Ictinus  as  architects  under  the  direction  of  Phidias,  to 
whom  he  entrusted  all  works  of  magnificence,  and  who  embellished  it  with 
statues  and  bass-reliefs.  It  was  227  feet  long,  101  wide,  and  65  in  height,  with 
8 pillars  front  and  back,  and  17  on  each  side;  these  pillars  were  42  feet  high  and 
17J4  in  circumference,  the  distance  between  them  being  7 feet  4 inches. 


The  Frieze  of  the  Parthenon. 

Plate  / C. 

This  frieze,  in  low  relief,  ran  around  the  top  of  the  inner  faces  of  the  colonnade 
and  outer  wall  of  the  cella  of  the  temple,  yet  within  and  below  the  roof,  and 
39  feet  above  the  pavement. 

As  the  entablature  above  the  outer  columns  descended  4 feet  9 inches  below  the 
lower  edge  of  the  frieze  as  it  was  placed  on  the  wall,  the  frieze  could  only  receive 
its  light  diffused  between  the  columns  and  reflected  upwards  from  the  pavement  of 

56 


CASTS  FROM  ANTIQUE  SCULPTURE. 


57 


the  colonnade.  Owing  to  this  circumstance,  as  well  as  to  the  peculiar  position 
of  the  spectator  when  looking  at  the  frieze,  standing  within  the  columns,  the  artist 
was  forced  to  keep  his  relief  very  flat,  so  that  it  only  rises  i ^ inches  from  the 
background,  and  at  the  highest  points  only  2^  inches;  moreover,  it  is  owing  to 
these  circumstances  that  the  relief  was  kept  lowest  in  the  lower  parts  of  the  frieze 
and  highest  in  the  upper  parts,  where  even  sometimes  the  background  is  sunk  to 
gain  a bolder  relief.  The  frieze  was  over  522  feet  in  length,  running  around  the 
four  sides  of  the  temple. 

Around  the  cornice  of  the  Main  Statuary  Hall  of  this  Gallery  is  placed  194  feet 
of  casts  from  the  original  marble  slabs  of  this  frieze.  The  windows  break  the 
continuity  of  the  casts,  but  on  the  east  and  north  walls  between  the  windows  will 
be  observed  seated  deities  f see  1001  to  1009J,  virgins  with  offerings,  and  frag- 
mentary groups,  with  sacrificial  oxen  and  charioteers ; the  reliefs  on  the  west  and 
south  walls  present  an  unbroken  line  of  the  young  horsemen  sweeping  along, 
with  here  and  there  a dismounted  group,  varying  the  action  of  the  cavalcade. 
This  last  section  is  arranged  precisely  as  the  originals  stood  in  the  Parthenon. 

1001  ZEUS. 

Frieze  of  the  Parthenon. 

1002  HERA. 

Frieze  of  the  Parthenon. 

1003  IRIS. 

Frieze  of  the  Parthenon. 

1004  ARES. 

Frieze  of  the  Parthenon. 

1005  ARTEMIS. 

Frieze  of  the  Parthenon. 

1006  APOLLO. 

Frieze  of  the  Parthenon. 

1007  HERMES. 

Frieze  of  the  Parthenon. 

1008  ATHENE. 

Frieze  of  the  Parthenon. 

C009  HEPHAISTOS. 

Frieze  of  the  Parthenon. 


PEDIMENTS  OF  THE  PARTHENON. 


(Plate  II.) 


EASTERN  PEDIMENT. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


59 


The  Western  Pediment. 

Plate  II,  page  58. 

The  myth  here  represented  is  as  follows: 

Athene  and  Poseidon  both  claim  the  patronage  over  the  land  of  Attica;  their 
claims  are  to  be  decided  by  some  token,  symbol,  or  sign  of  their  power;  and,  ac- 
cording to  various  traditions,  the  judges  who  are  to  decide  which  of  these  tokens 
contains  the  weightiest  claim  to  the  patronage,  are  either  the  Olympian  gods,  or 
Kekrops  the  hero-king  of  Athens  with  his  family,  or  the  Attic  people  itself. 

There  is  little  doubt  concerning  the  figures  at  the  extreme  angles  of  the  pediment, 
which  are  generally  admitted  to  be,  on  the  left  the  river  god  Kephissos  No.  7 \., 
with  a nymph  not  extant,  and  at  the  right  angle  the  nymph  (Kallirrhoe)  No.  7 r., 
with  the  river  Ilissos  No.  6 r.  crouching  beside  her.  The  real  doubt  exists  with 
regard  to  the  remaining  figures  at  either  side.  No.  1 on  the  1.  is  called  by  Michaelis 
and  others,  Kore  holding  the  boy  Iakchos  (No.  2),  who  is  turning  towards  the  seated 
female  figure  Demeter  (No.  3),  while  Nos.  4 and  5 are  called  in  the  British  Museum, 
Pandrosos  and  Kekrops,  and  by  Michaelis,  Hygieia  and  Asklepios.  The  corre- 
sponding figures  on  the  other  side  are  called  (No.  1)  Leukothea  with  Palaemon  and 
Eros  in  her  arms,  (No.  2)  Aphrodite  in  the  lap  of  (No.  3)  Thalassa,  No.  4 being  a 
Nereid.  The  other  system  of  interpretation,  first  formed  by  Brunn,  makes  all  the 
figures  on  either  side  of  Nike  and  Amphitrite  partake  of  the  nature  of  the  river 
gods  at  either  angle,  considering  them  personifications  of  Attic  locality.  Of  this 
pedimental  group,  fortunately  drawn  by  Carrey  in  1674,  before  the  destruction  of 
the  Parthenon,  only  more  or  less  fragmentary  remains  of  Athene,  Poseidon,  Hermes, 
Amphitrite,  perhaps  Nike,  and  of  1,6,  and  7 r.,  and  4,  5,  and  6 1.  are  extant  in 
the  British  Museum. 

1010  RIVER  GOD,  KEPHISSOS.  H.  2 ft.  8 in.  L.  6 ft.  4 in. 

Original  Elgin  Marble,  440  B.  C.  British  Museum. 

This  figure  stood  in  the  north  angle  of  the  western  pediment  of  the 
Parthenon,  and  is  represented  as  raising  himself  on  an  arm  from  a re- 
cumbent position,  to  listen  to  the  announcement  of  the  triumph  of 
Minerva  over  Neptune. 

“This,  one  of  the  most  famous  specimens  of  Greek  sculpture  e.  tant, 
shows  the  combination  of  perfect  modelling  and  grandeur  which  marked 
the  art  of  Phidias,  and  displays  the  care  which  was  bestowed  even 
upon  works  of  mere  decoration.  Note  for  instance  the  remains  of  finish 
even  on  the  back  of  the  statue,  which  could  never  be  seen  in  situ” 

Note. — The  measurements  of  the  casts  give  the  height  of  the  statues  and  busts 
exclusive  of  their  plinths  or  bases. 


6o 


CASTS 


FROM  ANTIQUE  SCULPTURE. 


The  Eastern  Pediment. 

Plate  II,  page  58. 

The  subject  represented  in  this  pediment  was,  according  to  Pausanias,  the  birth 
of  Athene.  We  cannot  believe  that  the  moment  represented  was  that  of  the  actual 
birth  of  Athene  out  of  the  head  of  Zeus,  an  incident  sometimes  quaintly  rendered 
on  archaic  vases;  nor  can  we  believe  that  it  was  that  immediately  preceding  the 
birth.  It  must  have  been  the  scene  immediately  succeeding  the  birth,  when  Athene 
stands  fully  armed  before  her  father  and  the  admiring  gods,  as  described  in  the 
Homeric  hymn  to  Athene. 

In  Carrey’s  time  the  centre  of  the  pediment  was  no  longer  extant,  and  he  could 
only  give  the  figures  at  the  wings  as  here  rendered  in  Plate  II,  page  58;  but  there 
can  be  little  doubt  that  the  centre  of  the  pediment  was  occupied  by  Zeus  and 
Athene,  with  the  chief  Olympian  gods  and  goddesses  to  their  left  and  right. 

In  this  plate  all  the  extant  figures  from  this  pediment,  now  in  the  British  Mu- 
seum, are  given,  with  the  exception  of  a nude  male  torso  at  Athens  (Michaelis,  VI, 
H.  Guide  Brit.  Mus.,  Prometheus  or  Hephaistos,  p.  1 6),  and  the  torso  of  Nike(?), 
which  has  before  been  ascribed  to  the  western  pediment.  No.  1 1.,  the  draped 
female  figure  rapidly  striding  towards  the  angle,  is  admitted  by  all  to  represent  Iris, 
the  fleet  messenger  of  the  gods,  bringing  the  news  of  the  great  event  from  the 
dwelling  of  the  gods  to  the  figures  seated  in  the  angle.  In  the  case  of  this,  as  in 
that  of  the  western  pediment,  there  are  two  main  groups  of  interpreters  : those, 
namely,  who  see  in  the  figures  of  the  angles  gods  or  heroes,  and  those  who  con- 
sider them  to  form  subdivisions  of  the  composition  as  a whole,  clearly  to  be  dis- 
tinguished from  the  central  group,  and  to  be  personifications  of  nature  in  keeping 
with  the  character  of  the  chariot-driving  figures  at  the  extreme  angles,  which  are 
admitted  by  all  to  represent  the  sun  god  and  the  moon  goddess. 

Accordingly  the  seated  figures,  2 and  3 1.,  would  be,  after  Brunn,  the  two  Horae 
who  watch  the  gates  of  Olympus,  the  reclining  nude  male  figure,  4 1.,  would  be 
the  mountain  god  Olympus,  while  the  hitherto  generally  accepted  interpretation 
for  the  two  female  figures,  has  been  Demeter  and  Persephone,  and  for  the  male 
figure,  Theseus,  Dionysos,  or  Herakles.  Nos.  5 and  6 1.  are  universally  admitted 
to  represent  Helios,  the  sun  god,  driving  his  chariot. 

No.  2 r.  represents  Hestia,  the  goddess  of  the  human  hearth,  while  the  female 
figure  4 r.,  reclining  on  the  knees  of  her  seated  companion  3 r.,  is  the  sea,  Thalassa, 
resting  on  the  lap  of  the  earth,  Gaia.  The  current  names  given  to  these  three 
figures  are  the  Three  Fates,  who  were  supposed  to  be  present  at  the  birth,  and 
are  thus  figured  on  the  late  reliefs  in  Madrid  and  Dresden;  5 and  6 r.,  are  ad- 
mitted to  represent  Selene,  the  moon  goddess,  driving  her  chariot. 

In  the  western  pediment,  the  myth  represented  shows  Athene  in  her  local  asso- 
ciation with  Athens;  while  in  the  eastern  pediment,  the  birth  of  Athene  from  the 
head  of  Zeus  has  an  universal  association  with  mankind.  The  one  scene  is  local, 
the  other  cosmical,  as  the  river  gods  with  nymphs  framing  one  scene,  and  the  sun 
and  moon  framing  the  other,  certainly  indicate,  and  as  the  remaining  figures  prob- 
ably do. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


6 1 

It  must  be  remarked,  that  the  prevailing  difference  of  opinion  in  assigning  definite 
names  to  the  single  figures  of  these  pediments,  is  due  not  only  to  the  fact  that  we 
have  no  passage  in  ancient  authors  mentioning  them,  but  that  the  fragmentary 
condition  of  the  statues  has  not  even  supplied  us  with  the  symbols  which  they 
held  in  their  hands,  and  which  made  their  meaning  clear  to  every  child  in  ancient 
Athens. 

The  Parthenon  appears  to  have  remained  in  its  original  condition  until  the  «,th 
or  6th  century  of  our  era,  when  it  was  converted  into  a Christian  church,  at  first 
of  St.  Sophia,  then  of  the  Virgin  Mary.  The  alterations  necessitated  by  its  new 
dedication  chiefly  concerned  the  interior  of  the  temple,  and  had  little  effect  upon 
the  sculptured  decorations.  The  entrance  was  transplanted  from  the  east  to  the 
west,  an  apse  was  built  at  the  east  end,  and  two  niches  were  placed  in  the  tym- 
panum of  the  western  pediment.  At  the  beginning  of  the  13th  century  it  was 
converted  from  a Greek  orthodox  into  a Roman  Catholic  church,  and  in  1458  it 
was  turned  into  a Turkish  mosque,  a minaret  being  added  to  the  west  end  of  the 
south  wall.  On  the  whole,  the  building  and  the  sculptured  decorations  remained 
comparatively  intact  until  the  latter  part  of  the  1 7th  century,  when  all  nation- 
alities combined  in  destroying  it.  In  September  1687,  during  the  war  between 
the  Republic  of  Venice  and  Turkey,  the  Venetian  general,  Francisco  Morosini, 
with  an  army  chiefly  of  mercenary  troops  of  all  nationalities,  under  the  imme- 
diate command  of  Count  Koenigsmark,  a Swedish  general,  laid  siege  ‘to  Athens, 
and  bombarded  the  Acropolis,  whither  the  enemy  had  withdrawn.  Upon  hear- 
ing that  the  Turks  had  stored  powder  in  the  Parthenon,  on  the  26th  of  Sep- 
tember, 1687,  at  seven  o’clock  in  the  evening,  a German  lieutenant  succeeded  in 
sending  through  the  roof  of  the  Parthenon  a shell,  which  ignited  the  powder  and 
rent  the  great  temple  asunder,  heaping  fragments  on  either  side.  In  the  year  1800, 
Lord  Elgin,  then  British  ambassador  to  the  Porte,  having  received  permission, 
began  his  work  of  carrying  off  the  Parthenon  marbles.  After  years  of  the  greatest 
vicissitudes,  occasioning  a vast  expenditure  of  money  on  the  part  of  Lord  Elgin, 
the  sculptures  finally  reached  England  in  1812,  when,  being  forced  to  sell  the  col- 
lection, he  offered  it  to  the  nation  for  the  sum  he  had  actually  expended.  At  last 
it  was  purchased  for  ^35,000,  a sum  less  than  half  it  cost  him,  and  now  forms 
the  chief  treasure  of  the  British  Museum. 

The  following  10  casts  are  arranged  as  nearly  as  possible  in  the  position  occupied 
by  the  original  marbles  in  the  east  pediment  of  the  Parthenon : 

1011  HELIOS,  WITH  HIS  HORSES. 

Original  Elgin  Marbles,  440  B.  C.  British  Museum. 

At  the  extreme  angle  of  the  pediment  the  neck,  arm,  and  shoulder  of 
Helios,  the  sun  god,  rise  out  of  the  sea,  and  before  him  the  heads  and 
necks  of  his  horses  are  advancing  towards  the  centre  (but  one  of  the 
three  horses  is  here  represented).  Though  there  are  but  small  portions 
of  the  figures  of  horses  and  man,  the  bold  upward  motion  is  completely 
indicated,  and  the  artist  clearly  suggests  that  the  scene  represented  in 
the  pediment  takes  its  beginning  at  this  side  and  concludes  at  the  other. 


62 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1012  OLYMPUS,  commonly  called  THESEUS. 

H.  4 ft.  2^  in.  L.  5 ft.  9 in. 

Original  Elgin  Marble,  440  B.  C.  British  Museum. 

The  original  reclined  in  an  angle  of  the  east  pediment,  and  is  uni- 
versally acknowledged,  alike  by  artists  and  by  the  outside  world,  to 
represent  the  highest  stage  of  broad  and  monumental  art  in  the  repre- 
sentation of  the  nude  male  figure. 

1013  TWO  HORAE,  commonly  called  CERES  (or  DEMETER)  and  PROSER- 

PINA (or  PERSEPHONE).  H. . 

Original  Elgin  Marble,  440  B.  C.  British  Museum. 

Guardians  of  the  gates  leading  to  the  dwellings  of  the  gods.  The 
first  of  these  two  figures,  in  her  more  erect  attitude  and  gesture,  mani- 
fests the  attention  she  is  giving  to  the  news  brought  by  the  messenger 
of  the  gods,  Iris;  the  other  figure,  leaning  on  her  shoulder,  has  not  yet 
completely  realized  the  importance  of  the  scene  enacted  in  the  centre. 
Both  these  figures  manifest  in  a high  degree  the  characteristics  of 
Pheidiac  art. 

1014  IRIS. 

H.  5 ft.  3 in.  Original  Elgin  Marble,  440  B.  C.  British  Museum. 

The  fleet  messenger  of  the  gods,  rapidly  descending  from  their  abode 
to  proclaim  the  birth  of  Athene,  is  here  represented  as  a youthful  female 
figure,  clad  in  the  Doric  chiton  open  at  the  sides.  A short  mantle  is 
flapping  back  in  the  wind,  owing  to  her  rapid  motion,  the  indication  of 
which  is  powerfully  expressed  in  the  whole  composition. 

1015  HESTIA.  H. . Original  Elgin  Marble.  British  Museum. 

The  common  view  makes  her  one  of  the  Three  Fates;  the  left  arm  of 
this  figure  was  probably  raised  behind  the  shoulder  of  Gaia  and  there 
held  a sceptre;  the  simple  and  solemn  attitude  of  this  figure  would  well 
correspond  with  the  nature  of  Hestia. 

1016.  THALASSA  and  GAIA,  commonly  called  TWO  OF  THE  THREE 

FATES.  H.  4 ft.  11  in.  L.  7 ft.  7 in. 

, Original  Elgin  Marble,  440  B.  C.  British  Museum. 

The  original  occupied  a position  in  the  angle  of  the  eastern  pediment 
opposite  the  Olympus.  “ Here  the  perfection  of  the  modelling  of  the 
texture  of  drapery  and  the  nude  has  been  attained,  and  this  not  at  the 
cost  of  the  general  breadth  of  composition.  As  regards  the  varied 
treatment  of  drapery,  notice  the  folds  of  the  cloth  upon  which  Thalassa 
is  reclining,  with  its  broader  surfaces,  the  more  elaborate  folding  of  the 


CASTS  FROM  ANTIQUE  SCULPTURE. 


63 


upper  garment  round  the  legs,  and  the  varied  play  of  smaller  creases  of 
the  undergarment  as  it  covers  the  breast,  against  the  nude  texture  of 
which  it  is  set  off  in  bold  contrast.” 

1017  HEAD  of  one  of  the  horses  of  SILENE.  H.  2 ft.  6 in. 

Original  Elgin  Marble,  440  B.  C.  British  Museum. 

The  head  projected  over  the  cornice  of  the  eastern  pediment,  double 
holes  behind  the  ears,  on  the  nose,  between  the  eyes  and  mouth,  and  on 
the  inner  corner  of  the  mouth  (not  well  represented  in  the  cast)  showed 
where  the  metal  bridle  had  been  affixed. 

“ This  head  has  ever  been  held  as  the  instance  of  sculpture  in  which 
the  combination  of  actual  truth  to  nature  on  the  one  hand  and  the  in- 
sistence upon  the  broad,  important,  and  general  features,  with  the 
avoidance  of  purely  individual  and  ephemeral  traits,  upon  the  other,  has 
been  successfully  attained.” 

We  are  indebted  for  much  of  the  foregoing  matter  relating  to  the  Parthenon,  to 

Stuart  and  Revett,  Antiquities  of  Athens;  to  Dr.  William  Liibke,  History  of 

Sculpture;  and  to  the  writings  of  Charles  Waldstein,  Litt.  D.,  Ph.D.,  L.  H.  D., 

Director  of  Fitzwilliam  Museum,  Cambridge. 

1018  THE  DISCOBOLOS  (Quoit-thrower).  H.  5 ft.  5 yz  in. 

Original  Bronze,  in  the  British  Museum. 

The  original  statue  was  executed  in  bronze  by  Myron  at  the  close  of 
the  first  period  of  Greek  sculpture,  about  470  B.  C.,  and  is  minutely 
described  by  Lucian  and  QuintilHan.  The  discus  was  a round  flat  plate 
of  metal  or  stone,  about  ten  or  twelve  inches  in  diameter.  There  are 
several  antique  copies  in  marble  of  this  figure,  showing  the  head  reverted. 
The  copy  from  which  this  cast  is  taken  was  found  in  1791,  near  Ha- 
drian’s Villa. 

1019  DISCOBOLOS.  H.  5 ft.  5^  in.  Original  Marble,  in  the  Vatican. 

The  original  of  this  cast  is  by  Naucydes,  pupil  of  Polycletus,  who 
was  a pupil  of  Phidias.  The  head  is  supposed  not  to  have  formed  a 
part  of  the  original  figure.  The  fillet  round  the  head  was  the  badge  of 
victory. 

1020  VENUS  OF  MELOS.  H.  6 ft.  8 in.  Original  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  discovered  in  1 820,  in  the  island  of  Milo, 
the  ancient  Melos,  by  a peasant,  while  digging  near  some  sepulchral 
grottoes.  The  French  consul  tried  to  buy  it,  but  a cunning  monk  (in 
disgrace  with  the  Sultan)  secured  it  as  a peace  offering  to  the  Porte. 
While  the  statue  was  on  its  way  to  a ship,  a French  frigate  arrived  with 
a secretary  of  the  French  embassy,  bearing  orders  to  purchase  and  hurry 


64 


CASTS  FROM  ANTIQUE  SCULPTURE. 


it  off.  A fight  occurred  over  it  between  the  French  sailors  and  natives, 
and  the  former  carried  off  the  prize.  The  peasant  received  six  thousand 
francs  for  this  invaluable  statue,  that  went  to  Paris  as  a present  to 
Charles  X.  It  now  stands  in  the  Louvre,  the  piide  of  Paris,  and  the 
admiration  of  the  world.  Its  sculptor  is  unknown,  but  by  the  grandeur 
of  its  style  it  is  justly  assigned  to  the  era  between  Phidias  and  Praxiteles, 
and  is  considered  the  greatest  statue  of  woman’s  form  the  world  now 
holds.  The  plinth,  the  tip  of  the  nose,  and  a small  part  of  the  lips 
are  the  only  parts  restored.  Parts  of  an  arm  and  hand  were  also 
found,  but  so  mutilated  that,  though  casts  have  been  taken  with  them 
attached,  the  torso  is  declared  by  the  world  better  as  it  is — the  fulness 
of  what  is  left,  and  its  suggested  action,  being  more  satisfactory  than 
any  guess-work  from  an  uninspired  hand. 

Mr.  Ravaisson,  keeper  of  the  Antiques  at  the  Louvre,  thinks  it  prob- 
able that  the  statue  is  part  of  a group  of  Venus  and  Mars — “ Love 
disarming  War” — and  he  has  made  a cast,  with  the  arms  attached, 
which  it  is  said  confirms  his  theory.  Then,  again,  it  is  asserted  that  a 
small  bronze  copy  of  it  has  been  discovered  in  Pompeii  representing  her 
as.  looking  at  herself  in  a mirror  held  in  her  left  hand. 

Mr.  Millingen,  a Dutch  antiquary,  thinks  it  a Victory  holding  a shield 
with  both  hands,  and  Mr.  Stillman,  a recent  critic,  contends  that  it  is 
the  Wingless  Victory  that  once  stood  in  the  Temple  of  Nike-Apteros, 
Athens,  and  was  sent  to  Melos  at  the  time  of  a threatened  invasion. 

The  Venus  of  Capua  in  the  Museo  Bourbonico,  Naples,  is  like  the 
Venus  of  Melos  in  general  form,  but  has  the  head  bent  down  and  the  left 
arm  and  empty  hand  extended  towards  a Cupid,  who,  with  his  bow, 
stands  before  her.  It  is  believed  to  be  a modified  copy  of  the  latter. 

All  these  theories,  however,  are  set  at  naught,  and  the  action  of  the 
Venus  of  Melos  settled,  if  there  be  truth  in  the  following  evidence  of 
its  condition  when  found,  as  quoted  by  O’Shea  in  his  u Galleries  of  the 
Louvre.”  The  eminent  traveller,  Dumont  D’Urville,  landed  from  the 
French  frigate  soon  after  its  discovery,  and,  after  an  inspection,  says  in 
his  account  of  it,  published  in  1821:  “ The  statue  was  in  two  parts,  and 
about  six  feet  high,  representing  a nude  female  whose  left  hand  {raised) 
held  an  apple , and  the  right  one  held  up  a tunic  falling  gracefully  from 
the  waist  to  the  feet.  However,  they  (the  hands)  were  mutilated  and 
separated  from  the  body.”  An  officer  of  the  man-of-war,  writing  about 
the  statue,  says:  “ When  M.  D’Urville  and  myself  saw  the  statue  it  had 
the  left  arm  raised  in  the  air,  and  holding  in  its  hand  an  apple , and  the 
right  arm  was  broken  at  its  narrow  part — a la  saignee .”  O’Shea  also 
states  that  the  forearm  and  hand  holding  the  apple  are  in  the  store-room 
of  the  Louvre.  This  contemporary  evidence  seems  to  prove  conclusively 
that  the  statue  is  a Venus  Victrix  in  the  contest  for  the  apple  with  Juno 
and  Minerva. 


1021 


1022 


1023 


1024 


1025 


1026 


1027 


CASTS  FROM  ANTIQUE  SCULPTURE.  65 

VENUS  DE  MEDICI.  H.  5 ft.  Original  Marble,  in  Florence. 

Presented  byj.  C.  McGuire. 

This  cast,  though  somewhat  injured  by  exposure  to  the  weather,  is 
regarded  as  a perfect  copy,  its  extreme  fidelity  having  carried  off  a prize 
in  Italy.  The  original  stands  in  the  Tribunal  of  the  Uffizi,  Florence. 
It  was  found  in  the  15th  century,  and  carried  to  Venice  during  the  reign 
of  Cosmo  di  Medicis — hence  its  name.  When  found  it  was  in  thirteen 
pieces,  and  without  arms.  These  were  supplied,  but  it  is  supposed  by 
many  that  the  position  of  the  original  arms  is  not  given  in  the  substitutes. 
It  was  executed  by  Cleomenes  of  Athens  at  a period  when  Greek  art 
was  rapidly  declining. 

VENUS  OF  THE  CAPITOL.  H.  5 ft.  11  in. 

Original  Marble,  in  the  Capitoline  Museum,  Rome. 

ARIADNE  DESERTED.  H.  5 ft.  3^  in.  L.  6 ft.  11^  in. 

Original  Marble,  in  the  Vatican. 

Ariadne,  daughter  of  Minos,  King  of  Crete,  was  married  to  Theseus, 
who  deserted  her  at  Naxos.  She  was  afterwards  loved  by  Bacchus,  and 
married  to  him.  For  three  centuries  the  statue  adorned  a fountain  in  the 
Vatican.  It  now  stands  on  an  ancient  sarcophagus,  the  sides  of  which 
represent,  in  bass-reliefs,  giants  destroyed  by  thunderbolts.  Liibke  as- 
signs the  execution  of  this  statue  to  the  period  of  Augustus  Caesar. 

EUTERPE.  H.  4 ft.  6 in. 

Original  Marble,  in  the  Louvre.  Was  once  in  the  Villa  Borghese. 

The  Inventress  of  song  and  wind  instruments. 

DIANA  DI  GABIA.  H.  6 ft.  5.  in.  Original  Marble,  in  the  Louvre. 

This  statue  takes  its  name  from  the  place  where  it  was  found  in  1 792. 
It  is  also  called  Atlanta  adjusting  her  robe. 

GENIUS  OF  THE  VATICAN. 

H.  2 ft.  954  in.  Original  Marble,  in  the  Vatican. 

This  work  was  found  at  Centicelli,  between  Rome  and  Palaestrina, 
and  has  been  by  some  pronounced  an  Eros,  or  Cupid,  by  Praxiteles. 
It  represents  that  dreamy  state  when  the  form  is  passing  into  young 
manhood. 

ABUNDANCE,  or  PLENTY. 

H.  6 ft.  11  in.  Original  Marble,  in  the  Vatican. 

It  has  the  cornucopia  in  the  left  hand,  while  the  right  holds  a rudder 
resting  on  a globe,  thus  indicating  Commerce  as  a source  of  Plenty. 


66 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1028  MINERVA.  H.  7 ft.  3 in.  Original  Marble,  in  the  Vatican. 

This  statue  of  the  goddess  of  wisdom,  of  war,  and  all  liberal  arts  is 
often  called  Minerva  Medica.  The  serpent  is  a special  attribute  of 
Minerva  as  an  emblem  of  wisdom.  The  griffin  is  also  sacred  to  her, 
and  appears  on  her  helmet. 

1029  GENIUS  OF  ETERNAL  REST. 

H.  5 ft.  11  in.  Original  Marble,  in  the  Louvre. 

The  original  of  this  cast  formerly  belonged  to  Cardinal  Mazarin.  The 
figure  leans  against  a pine  tree,  the  resin  of  which  was  used  in  funeral 
ceremonies. 

1030  GERMANICUS.  H.  5 ft.  11  in.  Original  Marble,  in  the  Vatican. 

Found  on  the  Esquiline  at  Rome  ; bought  by  Louis  XIV. 

Germanicus  was  emperor  of  the  eastern  division  of  the  Roman  Empire, 
A.  D.  19,  and  celebrated  for  his  military  genius,  learning,  and  benevo- 
lence. Some  consider  it  to  be  a statue  of  a Roman  orator,  in  the 
character  of  Mercury,  the  god  of  eloquence,  of  whom  the  tortoise 
below  the  drapery  is  an  emblem.  It  is  inscribed,  “ Cleomenes,  son  of 
Cleomenes,  made  this.”  The  head  is  supposed  by  some  not  to  be  the 
original  one.  No  published  authority  seems  to  have  explained  the 
action  of  the  right  arm  and  uplifted  hand,  holding  a small  substance  like 
a bean.  It  is  supposed  that  the  figure  represents  some  solemn  decision 
by  the  vote  of  the  emperor. 

1031  ANTINOUS  OF  THE  CAPITOL. 

H.  5 ft.  io}4  in-  Original  Marble,  in  the  Capitol. 

Antinous  was  a handsome  youth,  beloved  by  the  Emperor  Hadrian, 
to  whom  he  was  so  much  attached  that  he  drowned  himself  in  the  Nile 
to  save  his  imperial  master  from  the  death  foretold  to  him,  unless  saved 
by  such  a sacrifice.  Hadrian  immortalized  his  favorite  by  raising  temples 
and  statues  to  his  memory. 

1032  THE  FIGHTING  HERO,  or  GLADIATOR. 

H.  5 ft.,  and  from  head  to  foot,  6 ft.  6 in. 

Original  Marble,  in  the  Louvre. 

This  statue  was  . found  on  the  coast  near  Antium,  early  in  the  17th 
century,  very  near  the  spot  where,  a century  before,  the  Apollo  Belve- 
dere was  found.  The  stem  supporting  it  is  inscribed  in  Greek  letters, 
“ Agasias,  son  of  Dositheas,  of  Ephesus,  made  me  and  therefore  it  is 
a specimen  of  Greek  sculpture  of  the  Fourth  Epoch,  that  ended  with 
the  Roman  conquest.  It  is  now  asserted  that  this  statue  does  not 
represent  a gladiator,  but  a foot-soldier,  defending  himself  against  a 
horseman ; and  that  gladiators  were  principally  slaves,  who  fought  with 


CASTS  FROM  ANTIQUE  SCULPTURE. 


67 


more  or  less  armor.  Viardot  insists  that  it  is  Greek,  and  represents  an 
athlete  of  the  Hellenic  games,  gladiators  not  being  known  to  that  people, 
but  were  of  Roman  origin. 

1033  GROUP  OF  LAOCOON  AND  HIS  SONS. 

H.  6 ft.  in.  to  top  of  head.  Date  probably  B.  C.  100. 

Original  Marble,  in  the  Vatican. 

This  cast  was  made  for  and  presented  to  George  the  Fourth.  The 
original  was  executed  by  three  sculptors — Agesandros,  Atheodoros,  and 
Polydoros  (Agesandros  being  probably  the  father  of  the  other  two).  It 
was  found  in  1 506,  in  the  ruins  of  the  Palace  of  Titus,  on  the  Esquiline, 
Rome,  and  the  Pope  ordered  a public  festival  in  honor  of  its  discovery. 
Laocoon  was  a priest  of  Apollo,  and  the  god  being  offended,  sent  two 
serpents,  which  killed  him  and  his  two  sons  at  the  altar,  while  offering 
sacrifice  to  Neptune. 

The  right  arm  of  Laocoon  was  wanting  in  the  group  as  found.  One 
in  terra  cotta,  by  Bernini,  was  substituted.  Michael  Angelo  designed 
one  in  marble,  but  never  finished  it.  Liibke  and  other  writers  insist 
that  the  right  arm  was  not  originally  in  the  position  given  to  it  by  the 
great  sculptor,  but  was  bent  down  behind  the  head,  which  was  thus 
supported  by  the  hand  in  that  moment  of  exhausted  agony.  This 
position  of  the  arm  is  often  given  in  engravings. 

1034  APOXYOMENOS.  H.  6 ft.  53^  in.  Original  Marble,  in  the  Vatican. 

This  cast  represents  an  athlete  scraping  from  his  arm  with  the  strigil 
the  sand  and  oil  of  the  arena.  Athletes  were  contestants  in  the  public 
games,  and  before  entering  the  arena  rubbed  their  naked  bodies  over 
with  oil.  The  original,  in  bronze,  executed  by  Lysippos,  was  found  in 
the  Trastavere,  Rome,  in  1849.  Agrippa  had  it  placed  in  front  of  the 
Thermae,  near  the  Pantheon,  and  it  was  so  popular  that  when  Tiberius 
attempted  its  removal  to  his  own  residence,  the  people  rose  and  for- 
bade it. 

It  is  believed  that  the  five-spot  on  the  die  (tessera)  held  out  in  the 
right  hand  signifies  that  the  figure  came  out  fifth  in  the  contest,  though 
Waldstein  says  the  die  was  placed  in  the  restored  right  hand  on  the 
strength  of  a misinterpretation  of  some  words  of  Pliny. 

1035  BUST  OF  NERO.  H.  1 ft.  1 1 in.  Original  Marble,  in  the  Louvre. 

1036  AJAX,  or  MENELAUS.  H.  2 ft.  3^  in. 

Original  Marble,  in  the  British  Museum. 

This  bust  has  been  erroneously  called  Ajax.  It  was  found  in  1771 
by  Mr.  Gavin  Hamilton  in  the  Pantinella,  Hadrian’s  Villa. 


68  CASTS  FROM  ANTIQUE  SCULPTURE. 

1037  SILENUS  HOLDING  THE  INFANT  DIONYSOS. 

H.  6 ft.  4 in.  Original  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  found  in  the  1 6th  century  in  Rome,  in 
the  gardens  of  Sallust.  The  hands,  half  of  the  right  forearm,  and  right 
toes  of  Silenus,  and  left  leg  of  Dionysos  are  restorations. 

1038  VENUS  KALLIPYGE. 

H.  5 ft.  1 in.  Original  Marble,  in  the  Naples  Museum. 

So  called  from  the  Greek  definition  of  its  peculiar  character.  It  was 
once  in  the  Farnese  Palace,  Rome.  The  head  and  the  right  leg  below 
the  knee  are  supposed  to  be  restorations. 

1039  BOY  WITH  GOOSE. 

H.  2 ft.  934  in.  Original  Marble,  in  the  Vatican. 

Found  in  1789,  at  Civita  Vecchia,  Appian  Way.  It  is  thought  to  be 
copied  from  a bronze  work  by  Boetius,  of  Carthage.  Heads  of  the 
child  and  goose,  with  the  wing  tips,  are  restorations. 

1040  YOUTH  SUPPLICATING. 

H.  4 ft.  2 yz  in.  Original  Bronze,  at  Berlin. 

The  original  of  this  statuette  is  said  to  have  been  found  in  the  Tiber. 
From  Clement  XI  it  passed  through  several  hands  to  the  King  of  Prussia. 
The  right  hand  and  part  of  the  forearm  are  restorations. 

1041  ACHILLES  BORGHESE. 

H.  6 ft.  9 in.  Original  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  formerly  in  the  Villa  Borghese,  whence 
its  name.  Its  proper  name  is  doubtful.  Clarac  thought  it  a copy  of  a 
bronze  by  Alcamenes,  favorite  pupil  of  Phidias.  Visconti  first  gave  it 
the  name  of  Achilles,  but  Winkelman  thinks  it  a statue  of  Mars,  and 
that  the  ring  or  anklet  indicated  the  custom  of  the  Spartans  of  chaining 
up  the  God  of  War,  “ that  he  might  never  leave  them.” 

1042  MERCURY.  H.  6 ft.  6 in.  Original  Marble,  in  the  Vatican. 

This  statue  was  once  called  Antinous,  but  Visconti  has  proved  it  to 
be  Mercury.  It  was  found  on  the  Esquiline  Hill,  near  the  baths  of  Titus. 
The  right  arm  and  left  hand  were  never  restored,  but  the  right  thigh  and 
both  lower  legs  are  modern. 

1043  CROUCHING  VENUS. 

H.  2 ft.  8X  in.  Original  Marble,  in  the  Vatican. 

The  original  statuette  was  found  at  Salone,  on  the  road  from  Rome 
to  Palestrina.  The  left  hand,  right  forearm,  and  upper  part  of  the  head 
are  modern. 


CASTS  FROM  ANTIQUE  SCULPTURE.  69 

1044  VENUS  AT  THE  BATH. 

H.  2 ft.  3 in.  Original  Marble,  in  the  Louvre. 

Much  of  this  figure  is  of  modern  restoration.  It  is  supposed  to  be  a 
copy  of  the  Venus  of  Polycharmes,  which  Pliny  says  was  taken  to 
Rome  in  his  time.  ♦ 

1045  BONE-PLAYER.  H.  2 ft.  y2  in.  Original  Marble,  in  the  Louvre. 

The  original  of  this  statue  was  found  at  Rome  in  730.  The  right 
hand,  neck,  and  left  shoulder  are  modern. 

1046  COLOSSAL  BUST  OF  /ESCULAPIUS. 

H.  1 ft.  9 in.  Original  Marble,  in  the  British  Museum. 

Original,  made  300  B.  C.,  was  found  in  Isle  of  Melos  in  1828. 

1047  JULIA.  H.  4 ft.  in.  Original  Marble,  in  the  Vatican. 

The  original  of  this  statue  was  found  on  the  coast  of  Barbary,  at  Ben 
Ghuzi,  and  is  sometimes  called  A Young  Roman  Girl.  Julia  was  the 
mother  of  the  Emperor  Caracalla,  and  after  his  decease  starved  herself  to 
death  through  grief. 

1048  DEMOSTHENES.  H.  6 ft.  5 in.  Original  Marble,  in  the  Vatican. 

Perhaps  a copy  of  the  bronze  portrait  statue  by  Polyeuktus  at  Athens, 
3d  century  B.  C. — [IValdsteinJ] 

1049  SOPHOCLES. 

H.  6 ft.  8}4  in.  Original  Marble,  in  the  Lateran,  Rome. 

Found  at  Terracina  in  the  court  of  a private  house.  Probably  a copy 
of  a bronze  original  of  the  4th  century  at  Athens. — [fValdstein.\ 

1050  ARISTIDES,  or  AESCHINES. 

H.  6 ft.  6 in.  Original  Marble,  in  the  Naples  Museum. 

Found  in  Herculaneum. 

1051  BUST  OF  SOCRATES.  H.  1 ft.  8 in. 

Original  Marble,  in  the  Louvre. 

“ The  portraits  of  Socrates  date  back  to  a bronze  statue  of  him  made 
by  Lysippos  and  erected  at  Athens  after  his  death.  The  features  of 
this  bust  correspond  well  with  the  description  put  into  Socrates’  own 
mouth  by  Plato.” 

1052  BUST  OF  HOMER.  H.  1 ft.  1 1 in.  Original  Marble,  in  the  Louvre. 

This  bust  is  very  like  the  one  in  the  British  Museum.  The  original 
was  found  inserted  in  a garden  wall  in  Rome. 


70 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1053  BUST  OF  HOMER.  H.  1 ft.  9%  in. 

Original  Marble,  in  the  British  Museum. 

The  original  of  this  bust  was  found  at  Baiae  in  1 780.  There  are  many 
copies,  and  all  are  of  doubtful  authenticity  as  portraits. 

1054  COLOSSAL  BUST  OF  JUPITER. 

H.  2 ft.  8y£  in.  Original  Marble,  in  the  Vatican. 

The  original  in  marble  of  this  cast  was  found  at  Otricoli,  40  miles 
from  Rome.  There  are  several  copies,  and  all  are  supposed  to  be 
modelled  after  the  head  of  the  statue  of  Jupiter,  by  Phidias,  at  Elis, 
which  stood  for  eight  hundred  years,  until  it  was  destroyed  in  the  fifth 
century  of  the  Christian  era. 

1055  CARYATID.  H.  7 ft.  5 in.  Original  Marble,  in  the  Vatican. 

The  original  of  this  figure  is  from  the  Erectheum  at  Athens. 

1056  POLYHYMNIA.  H.  5 ft.  11  in.  Original  Marble,  in  the  Louvre. 

The  statue  was  once  in  the  Villa  Borghese.  Only  the  lower  half  is 
said  to  be  antique,  the  remainder  being  restored  by  Augustino  Penna 
from  a bass-relief  on  a sarcophagus  in  the  Capitol. 

1057  APOLLO  SAUROKTONOS  (Lizard-Killer). 

H.  4 ft.  ioy£  in.  Original  Marble,  in  the  Louvre. 

350  B.  C.  Is  mentioned  by  Pliny  as  a work  of  Praxiteles.  “The 
meaning  of  the  lizard  is  somewhat  doubtful.  It  is  known  that  the 
lizard  had  certain  magic  properties  attributed  to  it,  and  was  used  in 
incantations;  but  in  this  group  many  critics  prefer  to  see  only  a genre 
subject — Apollo,  as  a boy,  trying  to  ‘ stalk  ’ and  pierce  the  lizard,  simply 
as  an  exercise  of  agility,  the  animal  being  extremely  quick  in  its  move- 
ments.”— [ IValdstein .] 


1058 

FLORA. 

H.  5 ft.  5 yz  in.  Original  Marble,  Capitoline  Museum,  Rome. 

1059 

PUDICITIA  (Goddess  of  Modesty). 

H.  6 ft.  9 in. 

Original  Marble,  in  the  Vatican. 

1060 

CENTAUR  AND  CUPID. 

H.  4 ft.  63^  in. 

Original  Marble,  in  the  Louvre. 

The  original  of  this  cast  was  found  at  Villa  Fonesca.  There  is 
another  in  the  Vatican,  and  it  is  doubtful  which  is  the  copy.  The 
winged  figure  is  thought  by  Viardot  to  be  a Bacchus,  and  not  Cupid,  as 
he  has  an  ivy-wreath. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


7 


1061  DAUGHTER  OF  NIOBE. 

H.  5 ft.  6 in.  Original  Marble,  in  the  Vatican. 

Found  in  Rome  in  1583. 

1062  FAUN  OF  THE  CAPITOL. 

H.  5 ft.  7 in.  Original  Marble,  Capitoline  Museum. 

The  original  was  found  at  Civita  Lavinia  in  1701,  and  is  supposed  to 
have  been  copied  from  the  bronze  statue  by  Praxiteles  called  Periboetos. 

1063  FAUN,  WITH  KID.  H.  4 ft.  5 in.  Original  Marble,  at  Madrid. 

1064  FAUN  {a  la  Tache).  H.  1 ft.  10  in.  Original  Marble,  in  the  Louvre. 

This  bust  of  a laughing  Faun  takes  its  French  designation  from  a spot 
or  stain  on  the  right  cheek  and  shoulder  of  the  original  marble. 

1065  ATHLETE  POURING  OIL  INTO  HIS  HAND.  H.  4 ft.  9^  in. 

Taken  from  the  original,  in  marble,  in  the  Louvre,  and  represents  an 
athlete  preparing  for  a contest  in  the  public  games.  It  is  said  that  the 
head,  though  antique,  did  not  belong  to  this  statue.  The  left  lower 
leg,  right  arm,  and  parts  of  the  feet  are  modern. 

1066  DYING  GAUL,  or  GLADIATOR.  H.  1 ft  1 1 in.  L.  5 ft.  1 1 in. 

Original  Marble,  in  the  Capitoline  Museum,  Rome. 

It  is  supposed  to  be  a copy  of  the  bronze  figure,  by  Ctesilaus,  of  the 
School  of  Pergamus,  246  B.  C.,  who  chiefly  represented  battles  with 
the  Gauls  that  invaded  Asia  Minor.  It  is  also  said  that  it  represents  a 
Greek  herald,  with  his  horn  lying  beside  him  upon  the  oval  shield. 

1067  VENUS  ANADYOMENE. 

H.  4 ft.  10  in.  Original  Marble,  in  the  Vatican. 

The  title  of  this  Venus  signifies  rising  from  the  sea , and  the  god- 
dess is  represented  nude  to  the  waist,  wringing  the  water  from  her  locks. 
The  figure  was  thought  by  Visconti  to  have  been  copied  from  a 
painting  by  Apelles,  and  a bronze  statue  found  at  Herculaneum  in  the 
Naples  Museum  resembles  it. 

1068  MERCURY  IN  REPOSE. 

H.  3 ft.  6 in.  Original,  Museum,  Naples. 

The  original  in  bronze  of  this  cast  is  classed  among  the  finest  of  an- 
cient date,  and  was  found  in  Herculaneum  in  1 758.  Its  base  is  the  only 
modern  part.  The  left  hand  is  supposed  to  have  held  the  caduceus. 


72 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1069  APOLLO  BELVEDERE. 

H.  7 ft.  1 in.  Original  Marble,  in  the  Vatican- 

The  original  of  this  statue  was  discovered  at  Cape  d’Anzo  (Antium) 
in  1 503.  Bought  by  Julius  II,  when  still  a cardinal,  it  was  placed  by  him, 
when  Pope,  in  the  Belvedere  of  the  Vatican.  The  name  of  its  sculptor 
is  unknown.  Its  date  is  placed  at  B.  C.  279.  Canova  and  Visconti 
think  it  is  a copy  from  an  ancient  bronze  by  Calamus.  The  left  hand 
and  wrist,  and  the  fingers  of  right  hand  were  restored  by  G.  A.  da 
Montorsoli,  pupil  of  Michael  Angelo.  Undoubtedly  many  copies  of 
the  original  were  made,  and  a bronze  copy  discovered  in  1 792  at  Para- 
mythia,  and  now  at  St.  Petersburg,  in  the  judgment  of  some  has 
changed  entirely  the  meaning  of  the  action  of  the  figure.  Apollo  is 
here  represented  as  holding  a bow  and  discharging  an  arrow  at  the  ser- 
pent Python,  sent  by  Juno  to  destroy  his  mother,  Latona.  In  the  bronze 
statuette  referred  to,  there  is  no  tree  trunk  (necessary  to  support  a figure 
in  marble),  but  the  left  hand  holds  a shield  bearing  the  head  of  Medusa, 
supposed  to  turn  all  gazers  into  stone,  and  which  Homer,  in  the  Iliad, 
xv,  318,  says  Jupiter  lent  to  Apollo.  Dr.  Liibke  accepts  this  explana- 
tion of  the  action  of  the  figure,  and  says,  “Not  until  now  have  we 
understood  the  statue.”  Waldstein  says : “ The  statue  is  not  an  original 
work,  but  a copy,  whether  from  bronze  or  marble  is  uncertain.” 

1070  COLOSSAL  MASK  OF  JUNO.  H.  3 ft.  3 in. 

From  a copy,  in  marble,  in  the  Villa  Ludovisi,  Rome,  of  the  original 
statue  by  Polycletus,  the  Argive  sculptor,  about  423  B.  C. 

1071  MELEAGER.  H.  6 ft.  6y  in.  Original  Marble,  in  the  Vatican. 

The  original  was  found  in  Rome,  and  is  supposed  to  be  of  the  time 
of  Hadrian,  A.  D.  76-136. 

1072  BUST  OF  MENELAUS,  or  AJAX. 

H.  3 ft.  Original  Marble,  in  the  Vatican. 

The  original  of  this  bust  was  found  at  Hadrian’s  Villa,  Tivoli,  and  is 
commonly,  but  erroneously,  known  as  Ajax.  Visconti  satisfactorily 
proved  it  to  be  Menelaus.  Bass-reliefs  of  Hercules  fighting  with  Cen- 
taurs are  on  the  helmet. 

1073  TORSO  OF  HERCULES  (the  BELVEDERE  TORSO). 

H.  4 ft.  1 ]/2  in.  Original  Marble,  in  the  Vatican. 

The  original  of  this  torso  was  found  near  the  end  of  the  15th  century 
in  the  Campo  di  Fiori  at  Rome,  near  the  site  of  Pompey’s  Theatre,  from 
which  it  most  likely  came.  It  is  celebrated  as  having  been  the  subject 
of  Michael  Angelo’s  constant  study.  From  an  inscription  on  its  base 
it  was  made  by  Appollonius,  son  of  Nestor,  Athens. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


73 


i°74 


1075 

1076 

1077 

1078 

1079 

1080 

1081 

1082 

1083 

1084 


JASON.  H.  5 ft.  2 in.,  W.  3 ft.  Original  Marble,  in  the  Louvre. 

This  statue  has  been  called  Mercury,  and  Cincinnatus,  but  is  now 
considered  to  represent  the  famous  leader  of  the  Argonauts,  hurriedly 
tying  on  but  one  sandal  in  his  haste  to  seek  his  uncle  Pelias,  usurper  of 
his  father’s  throne,  and  who  had  been  warned  by  an  oracle  to  beware  of 
the  “ one-sandalled  man.” 

It  is  of  the  Alexandrian  or  third  era  of  Greek  sculpture,  and  once 
stood  in  the  Villa  Negroni,  was  bought  with  the  Germanicus  by  Louis 
XIV,  and  placed  at  Versailles. 

BUST  OF  PERICLES. 

H.  1 ft.  1 oj4  >n.  Original  Marble,  in  the  British  Museum. 

BUST  OF  PERIANDER. 

H.  1 ft.  7 in.  Original  Marble,  in  the  British  Museum. 

One  of  the  Seven  Sages  of  Greece. 

BUST  OF  JULIUS  CAESAR. 

H.  1 ft.  2 in.  Original  Marble,  in  the  British  Museum.' 

BOY  EXTRACTING  A THORN  FROM  HIS  FOOT. 

H.  2 ft.  4 ]/z  in.  Original  in  Bronze,  Capitol,  Rome. 

Said  to  have  been  found  in  the  Tiber.  Of  the  best  period  of  Greek 
art. 


HEAD  OF  ALEXANDER  THE  GREAT. 


H.  1 ft.  2 yz  in.  Original  Marble,  in  the  British  Museum. 


HEAD  OF  DIOGENES. 

H.  1 ft.  2 in. 

BUST  OF  DIONE. 

H.  i ft.  \ \]4,  in. 

BUST  OF  CLYTIE. 


Original  Marble,  in  the  British  Museum. 

Original  Marble,  in  the  British  Museum . 
Original  Marble,  in  the  British  Museum. 


BUST  OF  SEPTIMIUS  SEVERUS. 

H.  2 ft.  2 in.  Original  Marble,  in  the  British  Museum. 

BUST  OF  TRAJAN. 

H 1 ft.  \\%,  in.  Original  Marble,  in  the  British  Museum. 
The  original  of  this  bust  was  found  in  the  Campagna  of  Rome  in 
1 776- 


74 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1085  BUST  OF  ISIS. 

H.  1 ft.  1 1^  in.  Original  Marble,  in  the  British  Museum. 

The  Egyptian  Goddess,  with  the  lotus  flower  above  her  forehead,  is 
here  represented  unveiled. 

1086  THE  WRESTLERS.  H.  3 ft.  Original  Marble,  in  Florence. 

The  original  of  this  group  is  attributed  to  Cephissodotus,  of  the 
School  of  Rhodes,  5th  period  of  Greek  art.  Having  been  found  near 
the  Niobe  group,  it  was  thought  by  many  to  have  formed  a part  of  it. 

1087  DIANA  HUNTRESS.  H.  6 ft.  6 in.  Original  Marble,  in  the  Louvre. 

Also  called  Diana  of  Versailles,  whither  it  was  brought  from  Italy, 
for  Francis  I. 

1088  AUGUSTUS  CAESAR.  H.  6 ft.  10  in. 

Original  Marble,  in  the  Louvre. 

1089  HERMES  WITH  THE  INFANT  DIONYSOS. 

H.  7 ft.  2 in.  Original  in  Marble.  Praxiteles. 

The  original  of  this  cast  was  discovered  at  Olympia  in  the  Heraeum 
(Temple  of  Hera)  May  8,  1877.  Now  in  the  Museum  at  Olympia.  It 
is  known  to  be  by  Praxiteles,  on  the  authority  of  Pausanias  (2d  century 
A.  D.),  who  saw  and  described  it.  Waldstein  says:  ‘‘This  is  the  only 
Greek  statue  in  existence  of  which  we  can  say,  without  hesitation,  that 
it  comes  directly  from  the  hand  of  one  of  the  greatest  masters.” 

All  below  the  knee  of  Hermes  is  lost,  save  one  foot  (seen  on  the 
plinth  behind  the  cast). 

1090  BUST  OF  LUCIUS  VERUS. 

H.  2 ft.  10  inches.  Original  Marble,  in  Louvre. 

From  the  original  found  in  Roma  Vecchia. 

1091  BUST  OF  MARCUS  AURELIUS. 

H.  2 ft.  1 1 in.  Original  Marble.  Villa  Borghese. 

1092  BASS-RELIEF  OF  PHOEBUS  AND  THE  HORSES  OF  THE  SUN. 

H.  2 ft.  9 in.,  W.  6 ft.  7 in. 

From  a marble  block  of  triglyphs  with  metope  from  the  Temple  of 
Apollo,  found  in  1873  by  Dr.  Schliemann,  in  the  uppermost  of  the  five 
cities  on  the  site  of  Hissarlik.  Troy,  the  city  of  Homer’s  Iliad,  was  33 
feet  below  the  ruins  in  which  this  metope  was  found,  the  ruins  of  two 
other  cities  intervening.  The  work  and  the  city  in  which  it  was  dis- 
covered were  Greek,  the  colony,  called  New  Ilium,  being  founded  about 
700  B.  C.  The  metope  is  the  sole  specimen  of  high  art  found  in  any 
of  the  ruins,  and  is  assigned  to  the  time  of  Alexander  the  Great. 


CASTS  FROM  ANTIQUE  SCULPTURE. 


75 


1093  BASS-RELIEF. 

From  the  Original  Marble,  in  the  Museo  Bourbonico,  Naples. 
According  to  the  names  on  this  cast  it  represents  Antiopa  between 
her  sons,  Zethus  and  Amphion,  who  released  their  mother  from  cruel 
bondage  by  slaying  their  uncle  Lycus,  her  oppressor;  but  over  the 
figures  of  the  original  bass-relief  are  the  names  of  Hermes  (Mercury), 
Eurydice,  and  Orpheus,  indicating  the  meeting  of  the  latter  with  his 
lost  wife  in  the  realm  of  Pluto. 

1094  FRAGMENT  OF  A WINGED  FIGURE. 

From  the  Original  Marble,  in  the  Vatican. 

1095  ETRUSCAN  ARM.  - L.  4 ft.  Original  Bronze,  in  the  Vatican. 

Found  in  the  harbor  of  Civita  Vecchia  in  1835,  and  supposed  to  be 
part  of  a statue  of  Neptune. 

1096  BUST  OF  AGRIPPA  DE  GABIES. 

H.  1 ft.  7 in.  Original  Marble,  in  the  Louvre. 

1097  bust  OF  ANTINOUS. 

H.  1 ft.  6 in.  Original  Marble,  in  the  Louvre. 

1098  BUST  OF  ANTONINUS  PIUS. 

H.  1 ft.  4 in.  Original  Marble,  in  the  Vatican. 
The  original  was  found  by  Gavin  Hamilton,  in  Hadrian’s  Villa. 

1099  BUST  OF  COMMODUS. 

H.  1 ft.  4 in.  Original  Marble,  in  the  British  Museum. 

1100  BUST  OF  CARACALLA. 

H.  1 ft.  8 in.  Original  Marble,  in  the  Louvre. 

1101  BUST  OF  VITELL1US.  Original  Marble,  in  the  Louvre. 

1102  HEAD  OF  APOLLO. 

H.  1 ft.  6 yz  in.  Original  Marble,  in  the  British  Museum. 
Attributed  to  the  school  of  Lysippus. 

1103  BUST  OF  DIANA  DI  GABIA. 

H.  1 ft.  8 yz  in.  Original  Marble,  in  the  Louvre. 

1104  SLAB  FROM  THE  FRIEZE  OF  THE  PARTHENON. 

From  the  Original  (Elgin)  Marble,  British  Museum. 

1105  FRAGMENT — A MASK.  Original  Marble,  in  the  Vatican. 

1 106  FRAGMENT— A HUNTER.  Original  Marble,  in  the  Vatican. 


?6 


CASTS  FROM  ANTIQUE  SCULPTURE. 


1107  FRAGMENT— A WALKING  FIGURE. 

Original  Marble,  in  the  Vatican. 

1 108  FRAGMENT— FRIEZE  OF  TRAJAN’S  FORUM,  ROME. 

Original  Marble,  in  the  Vatican. 

nop  BUST  OF  THE  CROWNED  AUGUSTUS  (CAESAR). 

H.  2 ft.  Original  Marble,  in  the  Louvre. 

1 1 10  BUST  OF  THE  YOUNG  AUGUSTUS  (C/ESAR). 

H.  1 ft.  5 y2  in.  Original  Marble,  in  the  Vatican, 
mi  BUST  OF  SCIPIO  AFR1CANUS. 

H.  2 ft.  1 in.  Original  Marble,  in  the  Vatican. 

1112  MARCUS  AURELIUS.  H.  2 ft.  Original  Marble,  in  the  Louvre. 

Found  at  Acqua  Traversa. 

1 1 13  BUST  OF  A BARBARIAN. 

H.  1 ft.  6 in.  Original  Marble,  in  the  British  Museum. 
The  original  of  this  cast  was  found  in  Trajan’s  Forum,  Rome,  where 
many  similar  ones  were  discovered,  fastened  as  trophies  to  the  walls. 

1114  SENECA — HEAD  OF.  H.  1 ft.  1 in.  Original  Marble,  in  the  Louvre. 

1 1 15  BUST  OF  EURIPIDES. 

H.  1 ft.  9J4  in.  Original  Marble,  in  the  Vatican. 

1 1 16  BUST  OF  ARIADNE. 

H.  2 ft.  10  in.  Original  Marble,  Capitol  Museum,  Rome. 
Often  called  the  Young  Bacchus. 

m 7 BUST  OF  ANTINOUS  AS  BACCHUS. 

H.  2 ft.  Original  Marble,  in  the  British  Museum. 
The  original  of  this  head  was  found  in  the  Villa  Pamfili,  with  some 
fragments  of  a wall-statue,  of  which  it  had  been  a part. 

1 1 18  CAST  OF  A SMALL  MODEL  OF  THE  RUINS  OF  THE  ACROP- 

OLIS AT  ATHENS. 

1 1 19  PHOTOGRAPH  OF  THE  RUINS  OF  THE  PARTHENON  AT 

ATHENS,  giving  a view  of  the  East  Pediment,  from  which  was 

TAKEN  THE  STATUES  REPRESENTED  BY  THE  CASTS  ON  THE  TWO  WHITE 
PEDISTALS. 

1 120  PHOTOGRAPH  OF  THE  ACROPOLIS  from  the  Stadium  Hill. 

1 1 21  PHOTOGRAPH  OF  THE  ACROPOLIS  from  the  Hill  of  the  Nymphs. 


FROM 

THE  RENAISSANCE. 


THE  WEST  BRONZE 
THE  BAPTISTERY 
FLORENCE. 


ASTS 


CAST  FROM 
GATE  OF 
AT 


Lorenzo  Ghiberti. 


This  cast  was  brought  from  the  South  Kensington  Museum,  London,  and  con- 
sists of  ten  square  panels  containing  designs  from  the  Old  Testament,  each  design 
illustrating  three  or  four  incidents. 

The  left  highest  panel  shows  the  Creation  of  Adam  and  Eve,  the  Forbidden 
Fruit,  and  the  Expulsion  from  Eden.  On  the  right  panel  opposite  are  the  Offerings 
of  Cain  and  Abel,  the  Killing  of  Abel,  Man’s  Labor,  and  Cain  with  his  Maker. 

The  left  panel  below  has  the  Ark  after  the  Deluge,  Noah’s  Sacrifice  and  Inebria- 
tion. On  the  right  are  the  Sacrifice  of  Isaac,  Servants  at  the  foot  of  the  Mount, 
and  Abraham  with  the  Three  Angels. 

The  left  central  panel  contains  Jacob  and  Esau,  and  on  the  right  Joseph  and  his 
Brethren,  their  Cruelty,  their  meeting  in  Egypt,  and  the  Cup  in  Benjamin’s  Sack. 

The  left  panel  below  the  centre  shows  Moses  Receiving  the  Law,  and  the  People 
at  the  Foot  of  the  Mount.  On  the  right  are  Joshua  before  Jericho,  and  the  Di- 
vision of  the  Tribes. 

The  lowest  panel  on  the  left  contains  David  and  Goliath,  and  on  the  right  Solo- 
mon and  the  Queen  of  Sheba. 

Among  the  statuettes  in  the  upright  panels  are  Samson  with  the  Pillar,  Joshua 
in  Armor,  Judith  with  the  Head  of  Holofernes,  Jephthah’s  Daughter.  Among  the 
heads  are  two  on  a line  with  the  top  of  the  second  panel  representing  the  artist 
Ghiberti  (the  bald  one  on  the  right),  and  Bartoluccio,  his  father-in-law. 

The  outer  panels,  bearing  fruits  and  flowers,  were  finished  by  Ghiberti’s  son, 
the  artist  having  died  ere  the  completion  of  his  work,  at  the  age  of  seventy-four 
years. 


77 


78 


CASTS  FROM  THE  RENAISSANCE. 


The  cast  of  this  gate,  as  it  stands,  is  18  feet  2 inches  high  by  12  feet  6 inches 
wide,  exclusive  of  the  walnut  frame,  which  makes  it  altogether  19  feet  7 inches 
high  by  14  feet  6 inches  wide. 


1301,  1302,  1303,  1304,  1305,  1306,  1307,  1308,  1309. 

GROUP  OF  NINE  BASS-RELIEFS  OF  NYMPHS  OF  THE  FOUNTAIN  OF 

INNOCENTS.  * 

From  the  Original  Marbles,  in  the  Louvre. 

Jean  Goujon. 

I3IO. 

THE  FOUR  EVANGELISTS. 

Bass-reliefs. 

Original  in  Marble  in  the  Louvre,  from  the  Roodloft  of  St.  Germain  FAuxerrois. 
The  small  panels  represent  Religion,  Faith,  and  Strength. 

Jean  Goujon. 

I3II,  1312,  1313,  1314. 

BASS-RELIEFS  OF  SEA-NYMPHS. 

Original  Marble,  in  the  Louvre.  Formerly  in  the  Port  St.  Antoine. 

Jean  Goujon. 

1315- 

bass-relief  FROM  THE  TOMB  OF  CARDINAL  AND  CHANCELLOR 

DUPRAT. 

Original  Marble,  in  the  Louvre. 

Jean  Goujon. 

1316. 

BASS-RELIEF  OF  HISTORY  RECORDING  THE  WORKS  OF  PRESIDENT 
J.  A.  DuTHOU,  COUNSELLOR  AND  HISTORIAN. 

Original  Bronze,  in  the  Louvre. 

Francois  Anguier. 

1317. 

BASS-RELIEF  OF  VICTORY. 

Original  in  the  Louvre. 

Jacquet. 


CASTS  FROM  THE  RENAISSANCE. 


79 


1318. 

FLYING  MERCURY. 

H.  5 ft.  1 in.  Original  Bronze.  In  the  National  Gallery,  Florence.  Executed 

about  1560  A.  D. 

Gio,  or  Gian  Bologna  (John  of  Bologna). 


1319. 

DAVID  WITH  HEAD  OF  GOLIATH. 

H.  5 ft.  1 in.  Original  Bronze,  in  the  Uffizi,  Florence. 
Donato  di  Betto  Bardi  (Donatello). 


1320. 

THE  THREE  GRACES,  or  CHARITIES. 

H.  6 ft.  6 in.  Original  Marble,  in  the  Louvre.  1560. 

Germain  Pilon. 

This  example  of  the  Renaissance  of  French  sculpture  was  executed  for  Catharine 
of  Medicisin  memory  of  her  husband,  Henry  II  of  France,  whose  heart  was  placed 
in  the  original  urn,  supported  on  the  heads  of  the  three  female  figures,  standing 
back  to  back,  with  linked  hands,  upon  a triangular  pedestal.  These  figures  rep- 
resent Catharine  herself,  the  Duchess  d’Etampes,  and  Madame  Villeroy,  three  of 
the  fairest  women  of  that  time.  This  work  was  cut  out  of  a single  block  of  marble. 
The  pedestal  was  made  by  a different  hand,  and  bears  on  its  three  faces  inscrip- 
tions in  Latin,  to  the  following  effect: 

“Here  Catharine  has  deposited  the  heart  of  the  king,  her  husband,  wishing  she 
could  bury  it  in  her  own  bosom.” 

“The  united  heart  of  both  testifies  before  men  enduring  love — a subdued  spirit 
before  God.” 

“ The  Three  Graces  (or  Charities)  rightfully  bear  on  their  heads  a heart  once  the 
seat  of  the  graces  (or  charities) — a heart  that  aspired  to  the  highest  things.” 

This  monument  formerly  stood  in  the  Chapelle  d’Orleans,  Church  of  the  Ce- 
lestins. 


1321. 

COLOSSAL  BUST  OF  DAVID. 

H.  2 ft.  10  in. 

Michael  Angelo. 

This  cast  is  taken  from  the  original  colossal  statue  in  marble,  1 9 feet  high,  in 
Florence,  representing  David  about  to  hurl  the  stone  at  Goliath. 


8o 


CASTS  FROM  THE  RENAISSANCE. 


1322,  I323. 

THE  PRISONERS,  or  SLAVES. 

H.  7 ft.  3 in.  Original  Marble,  in  the  Louvre. 

Michael  Angelo. 

These  statues  were  designed  for  a grand  monument  to  Pope  Julius  II,  planned 
by  M.  Angelo,  but  never  executed.  The  artist  gave  them  to  a friend  who  had 
nursed  him  in  illness,  and  he  presented  them  to  Francis  I,  who,  in  turn,  gave  them 
to  the  Constable  Montmorency  for  his  Chateau  d’Ecouen.  During  the  troubles  of 
the  Revolution  in  1 793  they  were  found  in  the  stables  of  the  Due  de  Richelieu, 
and  were  bought  for  the  Republic.  They  are  now  in  the  Louvre,  and  are  the  only 
great  works  of  M.  Angelo  in  France.  They  were  taken  to  Florence  in  1875  to 
swell  the  memorials  of  the  sculptor’s  mighty  genius  at  the  centennial  celebration 
of  his  birthday. 

1324. 

CUPID. 

H.  4 ft.  6 in.  Original  Marble,  in  the  Kensington  Museum. 

Michael  Angelo. 

This  statue  was  brought  from  the  Campagna  Collection. 

1325- 

SITTING  STATUE  OF  LORENZO  DE  MEDICI. 

H.  5 ft.  8 in. 

Michael  Angelo. 

The  original,  in  the  church  of  St.  Lorenzo,  Florence,  with  a similar  statue  of 
his  brother,  Giuliano,  was  erected  by  order  of  Pope  Leo  X.  Below  them,  on  the 
curved  tops  of  their  sarcophagi,  recline  the  figures  of  Dawn  and  Twilight  under. 
Lorenzo,  and  of  Day  and  Night  under  Giuliano.  Reduced  copies  of  these  sym- 
bolic figures,  Nos.  1339  to  1342,  furnish  an  idea  of  the  general  form  of  the  mon- 
uments. 

1326. 

HEAD  OF  THE  STATUE  OF  GIULIANO  DE  MEDICI. 

H.  1 ft.  6 in. 

Michael  Angelo. 

1327. 

MASK  OF  MOSES. 

H.  2 ft.  7 in. 

Michael  Angelo. 

From  the  original  of  the  colossal  statue  of  Moses,  executed  in  marble  for  the  mon- 
ument of  Pope  Julius  II. 


CASTS  FROM  THE  RENAISSANCE. 


8 


1328. 

BASS-RELIEF  OF  AN  ALTAR-PIECE. 

H.  4 ft.  3 in.  W.  4 ft.  4 in. 

Mino  da  Fiesole. 

The  original  of  this  bass-relief  in  marble,  in  the  cathedral  at  Fiesole,  Florence, 
represents  the  Virgin  between  St.  Remigius  and  St.  Leonhard,  with  the  infant 
Jesus  below,  and  St.  John  worshipping  him.  One  of  the  saints  directs  the  sitting 
figure,  holding  a crutch,  to  the  Saviour. 

1329. 

BUST  OF  BISHOP  LIONARDI  SALUTATI. 

H.  1 ft.  10  in. 

Mino  da  Fiesole. 

From  the  original  marble  monument  in  the  Cathedral  of  Fiesole. 

1330. 

FIVE  BASS-RELIEFS. 

Each  H.  2 ft.  7^  in.  W.  2 ft.  5*4  in. 

Benedetto  da  Majano. 

These  reliefs  are  from  the  marble  pulpit  of  the  Church  of  Sante  Croce,  Flor- 
ence, and  represent  scenes  in  the  life  of  St.  Francis,  as  follows  : 

A. 

MARTYRDOM  OF  FIVE  BRETHREN  OF  THE  ORDER  IN  MAURITANIA. 

B. 

DEATH  OF  SAINT  FRANCIS. 

c. 

SAINT  FRANCIS  RECEIVING  THE  STIGMATA,  OR  IMPRESS,  OF  THE 
FIVE  WOUNDS  OF  CHRIST. 

D. 

SAINT  FRANCIS  WALKING,  UNINJURED,  THROUGH  FIRE  BEFORE 

THE  SULTAN. 

E. 

POPE  HONORIUS  CONFIRMING  THE  RULES  OF  THE  ORDER  OF 
SAINT  FRANCIS. 


82  CASTS  FROM  THE  RENAISSANCE. 

1331- 

HEAD  OF  ST.  GEORGE. 

Donatello  (Donato  di  Betto  Bardi). 

From  the  marble  statue  of  St.  George,  clad  in  armor,  with  cross-emblazoned  shield, 
which  stands  in  an  external  niche  of  Or  San  Michele,  Florence. 

1332. 

BUST  OF  MATTEO  PALMIERI. 

Benedetto  da  Majano. 

1333- 

bust  OF  FILIPPO  STROZZI. 

Benedetto  da  Majano. 

1334- 

bust  OF  PIETRO  MELLINl. 

Benedetto  da  Majano. 

Originals  in  Marble  of  the  above  three  busts  are  in  Florence. 


1333- 

day. 

1336. 

NIGHT. 

1337- 

dawn. 

1338. 

TWILIGHT. 

Michael  Angelo. 

The  above  four  statuettes  are  reduced  copies  from  the  originals  over  the  tomb  of 
Lorenzo  and  Giuliano  de  Medici,  at  Florence. 

1339- 

singing  BOYS. 

Alto-relief.  H.  3 ft.  5 in.  W.  2 ft.  2 in. 

Lucca  (Della  Robbia). 

Original,  in  Marble,  in  the  National  Gallery,  Florence,  was  made  about  1440  A.  D. 
for  the  balustrade  of  an  organ  loft,  but  never  set  up. 


CASTS  FROM  THE  RENAISSANCE. 


83 


1340. 

ARTHUR,  KING  OF  ENGLAND. 

Dated  1513.  H.  6 ft.  11  in.  Original  in  Bronze. 

The  monument  of  the  Emperor  Maximilian  I occupies  the  centre  of  the  nave  of 
the  Franciscan  Church,  or  Hofkirk,  at  Innsbruck. 

Maximilian  is  represented  in  a kneeling  posture  on  a massive  marble  sarcophagus, 
surrounded  by  28  statues  in  bronze  of  his  heroic  ancestors  in  the  guise  of  mourners 
and  torch-bearers.  Among  these  statues,  and  the  finest  of  all,  stands  that  of  King 
Arthur,  attributed  to  Peter  Vischer,  of  Nuremberg. 


VENUS  VICTRIX. 

H.  5 ft.  \i}4  in.  Original  Marble,  in  London. 
John  Gibson. 

I^OI. 

VENUS. 

H.  5 ft.  in.  Original  Marble,  in  Florence. 
Antonio  Canova. 


1502. 

VENUS  VICTRIX. 
H.  5 ft.  Original  Marble,  — 
Bertel  Thorwaldsen. 


1503. 

CLYTIE. 

H.  4 ft.  11  yz  in.  Original  Marble,  in  Peabody  Institute,  Baltimore. 
W.  H.  Rinehart. 

84 


CASTS  FROM  MODERN  SCULPTURES. 


85 


I504. 

SLEEPING  CHILD. 
L.  2 ft.  1 in. 

F.  Pettrich. 


1505- 

bust  OF  VICE-PRESIDENT  THOMAS  A.  HENDRICKS. 
Ulric  S.  J.  Dunbar. 


1506. 

ALSACE  (Bust). 

Original  Bronze,  by  L.  Gregoire. 
Presented  by  W.  G.  Metzerott. 


1507- 

BASS-RELIEF— PAINTING. 
Bum. 


1508. 

BASS-RELIEF— SCULPTURE. 

Bum. 

1509- 

BASS-RELIEF— ARCHITECTURE. 

Bum,  185-. 

The  above  three  reliefs  were  designed  for  the  Capitol  at  Washington,  D.  C.,  but 

never  adopted. 


1600. 

MURAL  TABLET  TO  PROF.  JOSEPH  HENRY. 

H.  7 ft.  4 in.  W.  4 ft.  1 in. 

Original  Marble,  in  the  College  of  New  Jersey,  Princeton,  N.  J. 
Presented  by  Miss  Henry. 


*/\ 


2000. 

BUST  OF  MR.  CORCORAN. 

Ulric  S.  J.  Dunbar. 

2001. 

THE  LAST  DAYS  OF  NAPOLEON  I. 
Height  of  figure  5 ft.,  with  pedestal  7 ft.  3 in. 
L.  4 ft.  8 in.  W.  3 ft.  3 in.  1871. 
Vincenzo  Vela. 

From  the  John  Taylor  Johnston  Collection. 


2002. 

BUST  OF  COMMODORE  MORRIS,  U.  S.  N. 
J.  C.  King. 


2003. 

BUST  OF  VICE-PRESIDENT  JOHN  C.  BRECKENRIDGE. 
Henry  Kirk  Brown. 

Presented  by  George  Taylor. 

86 


MARBLES. 


«7 


2004. 

MARBLE  STATUETTE  OF  ECHO. 

H.  2 fit.  10  in. 

Larkin  G.  Meade. 

2005. 

BUST  OF  ALEXANDER  VON  HUMBOLDT. 

Christian  Rauch. 

Executed  for  Mr.  Corcoran  at  the  particular  request  of  Humboldt. 

2006. 

COLOSSAL  HEAD  OF  NAPOLEON  I. 

H.  2 ft.  4 in. 

Antonio  Canova. 

A replica  by  Canova  of  his  head  of  the  colossal  statue  of  Napoleon  1,  modelled 
from  the  Emperor  at  Paris  in  1805. 

2007. 

ANTIQUE  HEAD  OF  CERES. 

H.  1 ft.  1 yz  in. 

Sculptor  and  history  unknown.  Deposited  in  the  Gallery  by  the  Smithsonian 

Institution. 

2008. 

BUST  OF  HENRY  CLAY. 

Joel  T.  Hart. 

2009. 

BASS-RELIEF  OF  A BACCHANTE. 

Circular.  Diameter  1 ft.  9 yz  in. 

Deposited  by  the  Smithsonian  Institution.  History  unknown. 

2010. 

THE  GREEK  SLAVE. 

H.  5 ft.  2 in.  1846. 

Hiram  Powers. 

201  I. 

GENEVRA  (Bust). 

Hiram  Powers. 

This  was  the  first  ideal  bust  made  by  Powers,  and  was  executed  in  Florence  for 
Mrs.  Preston,  as  a token  of  gratitude  for  the  assistance  given  by  her  husband  to 
the  sculptor. 


88 


MARBLES. 


2012. 

PROSERPINE  (Bust). 

Hiram  Powers. 

The  pedestals  of  both  201 1 and  2012  were  designed  by  Mr.  Powers. 

2013. 

BUST  OF  WILLIAM  J.  STONE. 

Hiram  Powers. 

Presented  by  Mrs.  E.  J.  Stone. 

2014. 

PENSEROSO  (Bust). 

William  H.  Rinehart. 


2015. 

ENDYMION. 

L.  4 ft.  4^  in.  H.  2.  ft.  2 in. 

William  H.  Rinehart. 

2016. 

SLEEPING  CHILDREN. 

L.  3 ft.  H.  1 ft.  4 in. 

William  H.  Rinehart. 

2017. 

BACCHANTE  (Bust). 

Alexander  Galt. 

2018. 

SHAKESPEARE  (Bust). 

(A  copy.) 

2019. 

THE  VEILED  NUN  (Bust). 

(A  copy.) 

2020. 

THE  PERI  AT  THE  GATES  OF  PARADISE. 

H.  5 ft.  5 in. 

Thomas  Crawford. 

This  statue  embodies  the  poem  in  “ Lalla  Rookh,”  by  Thomas  Moore. 


MARBLES. 


89 


2021. 

YOUTH  AS  A BUTTERFLY. 
H.  5 ft. 

E.  Caron  1 (Florence). 
2022. 

FORCED  PRAYER. 

H.  2 ft.  10  in. 

P.  Guarnerio  (Milan). 

2023. 

THE  FIRST  STEP. 

H.  2 ft.  5 in. 
Trombetta  (Milan). 

2024. 

ISIS  (Bust). 

Green  basalt. 


BRONZES,  CLOISONNE, 
PORCELAINS,  AND  ELECTROTYPE 
REPRODUCTIONS. 

BRONZES. 

By  A.  L.  BARYE. 

3000  to  3103. 

This  collection  of  Barye  bronzes  is  believed 
to  be  the  largest  extant. 

( The  smaller  bronzes  are  in  cases  near  the  table.) 


3000  General  Bonaparte.  (1838.)  14  X 13 

3001  Duke  of  Orleans.  (1840.)  14X13 

3002  Amazon,  Costume  of  1830.  14^X14 

3003  Gaston  de  Foix.  (1833.)  14^x11^ 

3004  Charles  VII,  the  Victorious.  (1839.)  11^x10 

90 


3005 

3006 

3007 

3008 

3009 

3010 

3011 

3012 

3013 

3014 

3015 

3016 

3017 

3018 

3019 

3020 

3021 

3022 

3023 

3024 

3025 

3026 

3027 

3028 

3029 


BRONZES. 


91 


Tartar  Warrior  Checking  his  Horse. 

With  bronze  stand,  Arabesque. 

13^X13^ 

Two  Arab  Horsemen  Killing  Lion. 
African  Horseman  Surprised  by  Serpent. 

14/4  X 1 5 
8 J4  X 10 

Elephant  with  Indian  Mounted,  Crushing 
Tiger. 

io>^  x 12 

Roger  and  Angelica,  Mounted  on  Hippo- 
griff.  (1846.) 

20X27 

Candelabras  (pair),  with  nine  lights,  dec- 
orated with  six  figures,  mascarons,  and 
chimeras.  (1846.) 

Originals  made  for  Due  de  Montpensier. 

37 

Minerva. 

12 

Juno. 

12 

Theseus  and  Minotaur.  (1848.) 
Theseus  and  Centaur.  (1850.) 

Ape  Riding  a Gnu. 

Two  Young  Bears  Fighting.  (1833.) 
Bear  Sitting. 

Beagle  Standing. 

Wolf  Holding  a Stag  by  the  Throat. 
Two  Young  Lions  Wrestling. 

i8x  10 
I^x  14/ 
9X  10 

8/2X6 

5%X  6/2 

6x8/2 

8x  17 
8x6 

Lion  Devouring  a Doe.  (1837.) 

5x11 

Lion  and  Serpent.  (No.  1.)  (1832.) 

IOX  12 

Lion  Sitting.  (No.  1.)  (1836.) 

Lioness  of  Senegal. 

Lioness  of  Algiers. 

Lion  Walking.  (1836.) 

Tiger  Walking.  (1836.) 

Tiger  Surprising  an  Antelope. 
Tiger  Surprising  a Deer. 

14X  12 
8x11^ 
8x  11 / 
9X  16 

8/X16/2 

13  / X 24 
6/2  X 10 

92 

3030 

303 1 

3032 

3033 

3034 

3035 

3036 

3037 

3038 

3039 

30 40 

3°  4i 

3042 

3°43 

30  44 

30 45 

3046 

30 47 

3048 

3049 

3050 

3051 

3052 

3053 

3054 

3055 

3056 

3051 

3058 


BRONZES. 


Tiger  Devouring  a Gavial  (Crocodile).  (1831.)  7^X19^ 
Tiger  Devouring  a Gazelle.  5^  X 12 

Panther  Seizing  a Stag.  1 5 X 22 

Panther  of  India.  5X  io}4 

Panther  of  Tunis.  (1840.)  5^  X 10 

Panther  Surprising  a Civet-Cat.  4x9 

Jaguar  Walking.  (No.  1.)  4^X9 

Jaguar  Standing.  (No.  1.)  (1840.)  5x9 

Jaguar  Sleeping.  33^X9 

Jaguar  Devouring  Crocodile.  3x93^ 

Ocelot  Carrying  a Heron.  6^4  X 1 1 3^ 

Elephant  of  Asia.  (1833.)  5x8 

Elephant  of  Africa.  5x7^ 

Horse  Surprised  by  a Lion.  (1834.)  15^X15 

Horse,  Half  Blood.  Head  lowered.  7 3^  X 1 1 

Horse,  Turkish.  (No.  2.)  Right  foot  raised.  113^x123^ 
Horse,  Turkish.  (No.  2.)  Left  foot  raised.  1 13^  X 12 
Dromedary,  Egyptian.  Reduction.  5^x6^ 

Elk  Surprised  by  a Lynx.  (1834.)  8 % X 1 1 3^ 

Deer  Attacked  by  Two  Scotch  Hounds.  (1833.)  17x21 

Stag,  Doe,  and  Fawn.  9x83^ 

Virginia  Deer  Biting  its  Side.  (1837.)  iox  14 

Bull  on  the  Defensive.  (1841.)  7X113^ 

Bull  Rearing,  Attacked  by  a Tiger.  (1837.)  9X11 

Bull  Dragged  to  Earth  by  a Bear.  (1839.)  53^  X 1 1 

Eagle  Holding  a Heron.  12  X 123^ 

Crocodile  Devouring  an  Antelope.  634  X 14 

Python  Swallowing  a Doe.  (1840.)  3^  X 10 

Python  Strangling  a Gazelle.  6x  13 


BRONZES. 


93 


30 59  Python  Crushing  a Crocodile.  (1840.) 

3060  Huntsman,  Costume  Louis  XV. 

3061  Bear  Overthrown  by  Three  Mastiffs.  (1833.) 

3062  Bear  Flying  from  Three  Dogs. 

3063  Greyhound  and  Hare. 

3064  Wolf  Walking. 

3065  Greyhound  Reclining. 

3066  Buffalo  of  Egypt. 

3067  Camel.  (Head  turned  to  right.) 

3068  Greyhound  Sleeping. 

3069  African  Badger  Robbing  Nest. 

3070  Lion  of  the  Column  of  July.  (1838.)  Bass- 

relief. 

3071  Warrior  of  the  Caucasus. 

3072  Peasant.  (Mediaeval.) 

3073  Leopard  Crouching. 

3074  Deer.  (Axis.) 

3075  Deer  of  the  Ganges. 

3076  Bull  Standing.  (Small.) 

3077  Card  Receiver.  Fawn’s  Feet. 

Ornamented  with  grapes. 

3078  Card  Receiver. 

Ornamented  with  owls  and  panthers’  heads. 

3079  Candlestick.  (Two  lights.) 

Ornamented  with  owls  and  panthers’  heads. 

3080  Candlestick. 

Ornamented  with  owls  and  panthers’  heads. 

3081  Candlestick. 

Greek  designs,  with  Syracuse  medallions. 

3082  Candlestick,  with  Fawn’s  Feet. 

Ornamented  with  bell  flowers  and  serpents. 


6) 4  x io)4 

1)4x7 

10x13^ 

I2X  18 

8x  13 
9X  14 
2)4  x 10 
6x8 

4) 4X4)4 

7) 4  x 13X 

4x6 

8) 4  X 16% 

I2X  10 

3X7 

5X5^ 
6)4  x6){ 
3)4  X 5)4 
33Axi)4 

5) 4X7 

iox  10 

7X3^ 
10X4^ 
9 }4x3}4 


94 


BRONZES. 


3083  Candlestick. 

Ornamented  with  bell  flowers,  leaves,  and  scarabei. 

3084  Candlestick.  Small,  with  Handle. 

Ornamented  with  ivy  leaves. 

3085  Perfume  Burner. 

Ornamented  with  chimeras. 

3086  Paroquet  Seated  on  a Tree. 

3087  Pheasant  Walking.  Head  turned  to  left. 

3088  Pheasant  Walking.  Head  turned  to  right. 

3089  Wolf  Caught  in  a Trap. 

3090  Virginia  Deer.  Left  foot  raised. 

3091  Doe  Reclining.  (Dated  1840.) 

3092  Fawn  Reclining.  (Dated  1840.) 

3093  Rabbits,  Group.  (Two.) 

3094  T urtle. 

3095  Crocodile. 

3096  Candelabras  (pair),  with  three  lights,  An- 

tique design,  ornamented  with  serpent, 
leaves,  chimeras,  claw  feet,  and  sur- 
mounted with  storks.  ' 


3097 

Theseus  and  Centaur. 

(1850.) 

3098 

Jaguar  Devouring  a Hare.  (1850.) 

3099 

Leopard.  Bass-relief, 
frame. 

0831.) 

Bronze 

3100 

Panther.  Bass-relief, 
frame. 

(1831.) 

Bronze 

3101 

Virginia  Deer,  with  Antlers.  Bass-relief. 

(1831.) 

3102 

Genet  Carrying  a Bird. 

Bass-relief. 

Bronze 

frame.  (1831.) 
Axis. 


I2^X5X 

33AX4'/2 

4x2^ 

7^x5 

4^X8^ 

4#X8* 

4/^X5 

6^x6 

3^X5^ 

1^X4^ 

2X3^ 

i/iX4 

i'AxjU 


31^ 

50x41 

15^X38 

3X5^ 

3^x6^ 

4X^/2 

3X5 

4^X6^ 


3103 


BRONZES. 


95 


3104  Bust  of  John  C.  Calhoun. 

H.  25  in. 

Clark  Mills,  1850. 

The  original,  in  plaster,  was  taken  from  life  by  Mr.  Mills  in  1845. 

3105  Japanese  Yoshitaure  Vase. 

61  3^X26  in. 

This  vase  takes  its  distinctive  title  from  its  bass-reliefs  of  scenes  in 
the  life  of  the  Japanese  hero  Yoshitaure.  Within  the  vase  is  a brazen 
vessel  for  fire,  and  the  perforated  upper  section  is  a censer,  surmounted 
by  the  god  Hohodermi,  who,  descending  into  Japan  standing  on  a 
dragon,  introduced  letters  and  writing. 

From  the  Centennial  Exhibition  of  1876. 

3106  Statuette  of  Augustus  Caesar. 

H.  36  in. 

Boschetti. 

3107  Bust  of  Washington. 

H.  i8Xin. 

Clark  Mills,  1849. 

From  Houdon’s  original  bust,  in  plaster,  1785. 

Presented  by  Mr.  Mills. 


3108  Bust  of  Dr.  James  C.  Hall. 

H.  22^  in. 

H.  K.  Bush  Brown,  1880. 


3109  Statuette  of  a Cow. 

9x14  in- 

H.  K.  Bush  Brown,  1883. 


|p>  3500  Square  Table,  with  Cloisonne 
top.  1 6th  century. 

From  the  Centennial  Exhibition,  1876. 


LOISONNE. 


"Tr1  3501  Cloisonne  Vase.  16th  century.  H.  20  in. 

From  the  Centennial  Exhibition,  1876. 

3502  Cloisonne  Vase.  1 6th  century.  H.  20  in. 

From  the  Centennial  Exhibition,  1876. 

3503  Cloisonne  Enamel  Dish,  representing  St.  George  and 

the  Dragon,  on  enamelled  stand,  with  pedestal  of 
golden  bronze.  (In  Case  B.) 


3504  Cloisonne  Plate,  small,  enamelled  on  both  sides,  on 
bronze  stand.  Subject:  “Puck.”  (In  Case  B.) 


3505  Cloisonne  Plate,  small,  enamelled  on  both  sides,  on 
bronze  stand.  Subject:  “Puck.”  (In  Case  B.) 

From  the  Centennial  Exhibition,  1876. 


From  the  Centennial  Exhibition,  1876. 


From  the  Centennial  Exhibition,  1876. 


96 


ORCELAINS 

AND  GLASS 


4000  Japanese  “Arita 


Porcelain  Vase. 


4001  Japanese  “Arita”  Porcelain  Vase. 

H.  8 ft.  8 in. 

These  examples  of  the  ceramic  art  of  Japan  were  made  in  the  fac- 
tory of  T.  Tawara,  at  Arita,  Japan,  expressly  for  the  Centennial 
Exhibition. 

4002  Sevres  Vase,  with  Floral  decorations. 

H.  1 ft.  8 in. 

4003  Sevres  Vase,  with  Floral  decorations. 

H.  1 ft.  8 in. 

4004  Prometheus  Vase. 

H.  4 ft.  (Majolica.) 

Minton,  England. 


Majolica  Vase,  with  Japanese  decorations. 

H.  4 ft. 

97 


4005 


98  PORCELAINS. 

4006  Majolica  Vase,  with  Japanese  decorations. 

H.  4 ft. 

These  two  vases,  modern  imitations  of  the  pottery  of  the  Moors, 
were  made  by  Deck,  of  Paris. 


4007  Sevres  Vase. 

H.  2 ft.  2 in. 

4008  Plaque  of  Stone  Porcelain,  with  decorations  of  Poultry, 

Vegetables,  etc. 

H.  2 ft.  1 \ y2  in.  W.  1 ft.  4 in. 

Schopin,  England. 

4009  Plaque  of  Stone  Porcelain,  with  decorations  of  Fish. 

H.  2 ft.  1 1 X in.  W.  1 ft.  4 in. 

Schopin,  Paris. 

4010  “Arita.”  Porcelain  Japanese  Vase. 

h.  7 ft.  w.  2#  fit. 

From  the  Centennial  Exhibition,  1876. 

4011  Japanese  Porcelain  Bowl. 

Diameter  3 ft.  Depth  7 in. 

From  the  Centennial  Exhibition,  1876. 


4012  Engraved  Glass  Magnum  Bonum  Claret  Jug.  Subject: 
A Fox  Hunt.  H.  1 ft.  4^  in.  W.  9 in. 

From  the  exhibit  of  John  Miller  & Co.,  of  Edinburgh,  Scotland,  at 
the  Centennial,  Philadelphia,  1876.  (In  Case  B.) 


II 


mV  LECTROT  YPE 


THE  HILDESHEIM  TREASURES. 
Electrotyped  by  Christofle  & Co. , Paris. 

These  are  electrotype  reproductions  ot  ancient  vessels 


CASE  A. 


REPRODUCTIONS. 


found  on  the  site  of  a Roman  camp,  near  Hildesheim,  Hanover. 

On  the  17th  of  October,  1868,  some  soldiers,  while  digging  near 
their  camp  on  the  slope  of  Galgen,  found,  at  the  depth  of  ten  feet, 
some  bits  of  metal  that  proved  to  be  silver.  Further  search  discovered 
two  large  bell-shaped  vases  or  bowls,  inverted,  under  which  were 
other  vessels  and  fragments,  strangely  heaped  together,  the  feet  and 
handles  being  detached  from  the  vessels  to  which  they  belonged, 
and  all  much  corroded  by  the  infiltration  of  a wet  soil. 

They  were  restored  by  an  expert  as  nearly  as  possible  to  their  original 
condition,  and  subsequently  taken  to  the  Royal  Museum  at  Berlin. 
Their  discovery  made  a great  sensation,  and  it  was  at  first  supposed 
that  the  original  Treasures  were  part  of  the  dinner  service  of  Varus, 
the  Roman  general,  who  was  defeated  by  the  Germans,  under  Ar- 
minius,  near  Hildesheim,  in  the  year  A.  D.  9,  but  the  style  ot  some  of 
the  pieces  was  so  evidently  of  a later  date  that  the  idea  is  now  aban- 
doned. The  design  and  workmanship  of  most  of  them  certainly  show 
their  extreme  antiquity. 


4180  Large  Minerva  Bowl  (Patera). 

4181  Bowl,  with  Hercules  Strangling  the  Serpents. 

4182  Bowl,  with  Deus  Lunus  wearing  the  Phrygian  cap  with 
horns  of  crescent. 

Bowl,  with  Cybele  with  mural  crown. 

99 


f 


4183 


ELECTROTYPE  REPRODUCTIONS. 


IOO 

4184  Large  Drinking  Bowl  (Oxybaphon). 

4185  Drinking  Cup,  with  four  masks  of  Bacchants. 

4186  Drinking  Cup,  with  six  masks  of  Fauns. 

4187  Drinking  Cup  with  ten  masks,  with  scenic  accessories. 

4188  Drinking  Cup,  with  garlands. 

4189  Drinking  Cup,  with  laurels. 

4190  A Cup,  with  handles  of  leaves  of  acanthus  and  flowers. 

4191  Egg  Dish. 

4192  Salt-Cellar  for  Egg  Dish,  with  carved  exterior. 

4193  Saucepan,  handle  with  water  lilies. 

4194  Saucepan,  handle  with  leaf  of  ivy. 

4195  Saucepan,  with  handle  knotted. 

4196  Saucepan,  with  handle  of  palm  leaves. 

4197  Ladle,  with  handle  of  palm  leaves. 

4198  Ladle,  with  handle  of  ivy  branch. 

4199  Salt-cellar,  with  ivy  leaves. 

4200  Salt-cellar,  with  ivy  leaves. 

4201  Olive  Bowl,  with  three-carved  feet. 

4202  Turnip  Dish. 

4203  Duck  Dish. 

4204  Tripod,  base  of  a candelabrum. 

4203  Support,  with  head  of  Bacchus;  part  of  a tripod. 

4206  Handle  of  a Vase. 

4207  Claw  of  Tripod,  with  head  of  Jupiter. 

4208  Conical  Cup,  with  rude  carvings  of  animals. 


ELECTROTYPE  REPRODUCTIONS. 


IOI 


4209  Large  round  Dish,  bordered  with  foliage,  birds,  and 

squirrels. 

CASE  B. 

Reproductions  of  objects  chiefly  in  the  South  Kensington  Museum , London. 
Electro'typed  by  Elkington  & * Co.,  Birmingham. 

4210  Grand  Cup  and  Cover.  Copper-gilt.  German,  1 6th 

Century. 

Original  of  silver-gilt,  in  Gratz,  Styria.  H.  3 ft.  4 y2  in. 

4211  Chalice.  Spanish,  1540. 

Original,  silver-gilt. 

4212  Tankard.  German,  1605.  A cock  on  top. 

Original,  silver-gilt. 

4213  Bedford  Tankard.  Italian,  16th  Century.  Triumph  of 

Bacchus. 

Original  in  ivory  and  silver. 

4214  Shrine  or  Cover  of  St.  Patrick’s  Bell.  Irish,  nth  Cen- 

tury. 

Original  in  copper,  gold,  and  jewels,  in  possession  of  Rev.  Dr. 
Todd.  The  back  is  silver  perforated  with  crosses,  surrounded  by 
Irish  characters.  The  bell,  of  sheet  iron,  enclosed  in  the  original, 
is  reputed  to  be  of  the  4th  Century. 

4215  Pyx  or  Pix.  Portuguese,  17th  Century.  For  holding 

the  consecrated  wafer. 

Original,  silver-gilt. 

4216  Tankard.  German,  17th  Century. 

Original,  silver-gilt. 

4217  Tazza  or  Cup.  French,  17th  Century.  Subject:  Death 

of  Meleager. 

Original,  silver-gilt. 

4218  Tazza.  German,  17th  Century.  Silver  oxydized.  Sub- 

ject: Judgment  of  Solomon. 

Original  of  silver. 

4219  Tankard.  German,  17th  Century. 

Original,  silver-gilt. 

4220  Tankard.  German  or  French,  16th  Century. 

4221  Salt-cellar.  Italian,  15th  Century. 

Original,  silver-gilt. 


102 


ELECTROTYPE  REPRODUCTIONS. 


4222  Salt-cellar.  German,  1580. 

Original,  silver-gilt. 

4223  Salt-cellar.  German,  1 6th  Century. 

Original,  silver-gilt. 

4224  Salt-cellar.  German,  1 6th  Century.  , 

Original,  silver-gilt. 

4223  Salt-cellar.  German,  1 6th  Century. 

Original,  silver-gilt. 

4226  Inkstand.  Italian,  1 6th  or  17th  Century. 

Original,  silver-gilt. 

4227  Knife.  French,  17th  Century.  Gilt,  handle  in  imitation 

of  carved  ivory. 

In  the  collection  of  R.  Napier. 

4228  Fork.  French,  17th  Century.  Gilt,  handle  in  imitation 

of  carved  ivory. 

In  the  collection  of  R.  Napier. 

4229  Spoon.  French,  17th  Century.  Gilt,  handle  in  imita- 

tion of  carved  ivory. 

In  the  collection  of  R.  Napier. 

4230  Candlestick.  Italian,  1 6th  Century. 

Original  in  bronze. 

4231  Inkstand  or  Perfume-burner.  Copper-bronze.  Italian, 

15th  Century.  With  statuette  of  Flannibal. 

4232  Plate.  German,  1 6th  Century.  With  medallions  of  Em- 

perors. 

4233  Plate.  German,  1 6th  Century.  Subject:  Adam  and  Eve. 

4234  Plate.  German,  1 6th  Century.  With  arms  of  Swiss 

Cantons. 

4233  Cup  and  Cover.  English,  1638. 

Original  of  silver. 

4236  Cup  and  Cover.  English:  Hall-mark,  1676. 

Original  of  silver. 

4237  Incense-holder.  Spanish,  about  1340-1350.  Inscribed 

with  “ Or atio  mea  dirigatur  sicut  incensum." 

Original  in  rock  crystal,  mounted  in  silver-gilt. 

4238  Beaker.  On  three-ball  feet.  Augsburgh. 

Original,  silver  parcel-gilt. 


ELECTROTYPE  REPRODUCTIONS.  103 

4239  Goblet.  German,  17th  Century.’ 

Original,  silver-gilt. 

4240  Tankard  and  Cover.  German,  17th  Century.  Man  slay- 

ing a Centaur  on  top,  with  Bacchanalian  group  below. 
Original  in  carved  ivory  and  silver,  by  Bernard  Strauss. 

4241  Goblet.  (Agate.)  English:  Hall-mark,  1567. 

Original,  silver-gilt. 

4242  Goblet.  Russian,  17th  Century.  Medallions  of  the 

Seasons. 

Original,  silver-gilt. 

4243  Beaker.  Russian,  1 6th  or  17th  Century. 

Original  in  silver  parcel-gilt. 

4244  Cocoa  Cup.  German,  1585. 

Original,  silver-gilt. 

4243  Augsburgh  Ewer. 

Original,  silver-gilt,  in  the  Louvre.  Commemorates  the  siege  of 
Algiers  by  Charles  V. 

4246  Pax.  For  communicating  the  kiss  of  peace.  Represents 

the  Virgin  giving  a vestment  to  St.  Ildefonso.  Span- 
ish, 1540. 

Original,  silver-gilt. 

4247  Bottle.  In  form  of  Pilgrim’s  flask.  French  or  German, 

17th  Century. 

Original  of  silver. 

4248  Entombment  of  Christ.  Bass-relief  after  Donatello. 

Italian,  13th  Century. 

Original,  in  bronze,  in  Vienna. 

4249  Bowl,  with  Cover.  Arabesque. 

Original  in  brass,  damascened. 

4230  Bowl,  with  Cover.  Arabesque. 

Original  in  brass,  damascened. 

4231  Plaque.  Entombment  of  Christ.  Spanish,  17th  Cen- 

tury. 

4232  Bowl.  French,  about  1330. 

Original,  silver. 

4233  Bowl.  French,  about  1330. 

Original,  silver. 


104  ELECTROTYPE  REPRODUCTIONS. 

4254  Plateau.  Italian,  1820. 

Silver  oxydized. 

4255  Bowl.  Arabesque,  14th  Century. 

Original,  brass,  damascened. 

4256  Bucket.  Arabesque,  14th  Century. 

Original,  brass,  damascened. 

4257  Nautilus  Shell.  Mounted  in  metal.  Italian,  16th  Cen- 

tury. Supported  by  seated  Naiad.  Sirens  below. 

4258  Ewer.  Dragon  handle,  with  Roman  subjects.  Italian, 

1 6th  Century. 

4259  Tazza.  Representing  the  Deluge.  Italian,  1 6th  Cen- 

tury. 

4260  Salver.  Portuguese,  1 5th  Century.  Figures  in  high  re- 

lief. 

Original  in  silver-gilt. 

4261  Cup.  English,  1720. 

Original  of  silver. 

4262  Tazza.  Italian,  1 6th  Century.  Classical  figures  at- 

tributed to  Benvenuto  Cellini. 

Original  in  the  Louvre. 

4263  Candlestick  (Base  only).  Arabesque. 

Original,'  brass,  damascened. 

4264  Candlestick.  Venetian,  16th  Century.  Persian  or  Mo- 

resque design. 

Original  in  bronze. 

4265  Plateau.  Dutch,  about  1690. 

Original  in  silver. 

4266  Ewer.  Venetian,  1 6th  Century. 

Original  in  brass-gilt. 

4267  Tazza  and  Cover.  French,  1851. 

Original,  silver  and  jewelled,  parcel-gilt. 

4268  Vase  and  Cover.  English,  1772.  A boy  on  top;  handles 

of  Satyr  heads. 

Original,  silver-gilt. 

4269  Mirror-case  or  Martelli  Bronze.  Italian,  15th  Century. 

Allegory  of  Productiveness,  with  a legend. 

Original  of  bronze,  inlaid  with  silver. 


ELECTROTYPE  REPRODUCTIONS.  IO5 

4270  Incense-burner.  Belgian,  1851.  Arabesque. 

Original  of  iron,  damascened  by  Falloise,  of  Liege. 

4271  Tankard  and  Cover,  in  fictile  ivory,  mounted  in  metal, 

parcel-gilt.  Same  subject  as  No.  3240  (which  see),  but 
as  the  original  was  of  carved  ivory,  this  is  a more  ex- 
act imitation  of  it.  17th  Century. 

4272  Bowl,  with  Cover.  Arabesque. 

Original  of  brass,  damascened. 

4273  Bowl,  with  Cover.  Arabesque. 

Original  of  brass,  damascened. 

4274  Tazza.  Italian.  Silver  oxydized. 

By  Lionnet,  Paris.  Same  subject  as  No.  3275,  by  B.  Cellini. 

4275  Tazza.  Italian.  Silver  oxydized. 

By  Lionnet,  Paris.  Original  by  B.  Cellini,  in  the  Louvre. 

4276  Gilt  and  Oxydized  Emperor’s  Tankard. 

From  the  Centennial  Exhibition,  Philadelphia,  1876. 

CASE  C. 

Electrotypes  by  Elkington  & Co. 

4277  Small  Shield.  Benvenuto  Cellini. 

Silver  oxydized. 

4278  Salver.  Italian,  16th  Century,  illustrating  the  siege  of 

Tunis  by  Charles  V.  1535. 

Original  in  the  Louvre,  Paris. 

4279  Spiked  Shield  of  Francis  I,  1 6th  Century. 

Original  in  the  Museum  of  Artillery,  Paris.  Electrotyped  by  Lionnet, 
Paris. 

4280  Helmet  of  Francis  I.  1545. 

Original  in  the  Museum  of  Artillery,  Paris. 

4281  Sword  of  Francis  I. 

Original  in  the  Museum  of  Artillery,  Paris.  Electrotyped  by  Lionnet, 
Paris. 

4282  Head-piece.  Italian,  1 6th  Century.  Marine  genii  hold- 

ing a warrior’s  head,  whose  body  forms  the  crest. 
Silver  oxydized. 

Original  in  the  Museum  of  Artillery,  Paris. 


io6 


ELECTROTYPE  REPRODUCTIONS. 


4283  Head-piece.  Italian,  1 6th  Century.  David  and  Goliah 

on  one  side.  Silver  oxydized. 

Original  in  the  Museum  of  Artillery,  Paris. 

4284  Hannibal  Dish.  German,  1567,  with  Roman  figures. 

4285  Salver.  Arabesque,  with  Moresco  chasings. 

4286  Salver.  Italian,  1 6th  Century.  Arabesque. 

Original  in  brass-gilt. 

4287  Salver.  Venetian,  1 6th  Century,  with  battles  and  sieges. 

Original  in  bronze-gilt. 

4288  Salver.  Italian,  1 6th  Century.  Medallions. 

Original  in  brass-gilt. 

4289  Salver.  English,  1719-20. 

Original  of  silver. 

4290  Bowl  or  Plateau.  Moorish. 

Original  of  brass. 

4291  Gilt  and  Oxydized  Dish,  representing  the  months  of  the 

year. 

4292  Gilt  and  Oxydized  Dish,  representing  the  months  of  the 

year. 

From  the  Centennial  Exhibition. 

4293  Shakspeare  Dish.  Containing  medallion  of  Shakspeare, 

10  inches  in  height,  surrounded  by  scenes  from  his 
various  plays. 

From  an  old  repousse  plate  in  the  South  Kensington  Museum. 
Artist  and  history  of  it  unknown. 

ON  THE  WALLS. 

4294  Shield. 

From  the  Milan  Museum. 

4295  Shield. 

From  the  Turin  Museum. 

4296  Bourgignotte  Helmet. 

Museum  of  Artillery,  Paris. 

4297  Cap  of  a Doge. 

Museum  of  Artillery,  Paris. 


ELECTROTYPE  REPRODUCTIONS. 


IOy 


4298  Shield.  French,  15th  Century.  Medallions  of  David 

and  Judith. 

4299  Breast-plate. 

Milan  Museum. 

4300  Suit  of  Armor  of  Henry  II,  France. 

Museum  of  the  Louvre,  1 547— ’59. 

Attributed  to  Germain  Pilon,  the  sculptor. 

4301  Shield  of  Henry  II,  France. 

Museum  of  the  Louvre,  1 547— ?59. 

4302  Statuette  of  Henry  IV  of  France  when  a boy. 

Bosio. 

Original  of  silver  in  Museum  of  the  Louvre. 

4303  Shield. 

Museum  of  Cluny. 

4304  Sword  of  the  Duke  of  Savoy. 

Turin  Museum. 

4305  Pieces  of  Horse  Armor. 

Museum  of  Lyons. 

4306  Cannon.  Renaissance. 

Attributed  to  Germain  Pilon. 

Museum  of  Artillery,  Paris. 

4307  Axe  of  King  John,  France.  i350-’64. 

Museum  of  Artillery,  Paris. 

4308  Column  of  the  Place  Vendome,  Paris. 

(Miniature  reproduction.)  H.  5 ft.  3 in. 

4309  Suit  of  Armor  in  nineteen  pieces.  Italian,  1 6th  Century. 

Original  in  the  Museum  of  Artillery,  Paris. 

4310  The  Milton  Shield. 

Reproduced  by  Elkington  & Co. 

Oval.  H.  2 ft.  10  in.  W.  2 ft.  2 in. 

The  original  was  designed  and  wrought  in  silver  and  steel  repousse 
by  M.  Morel  Ladeuil,  England,  for  the  Pans  Exposition^  1867. 
The  British  Government  bought  it  for  the  Kensington  Museum 
for  $15,000.  It  represents  scenes  from  Paradise  Lost. 

4311  The  Pompeiian  Toilet. 

Circular.  W.  20  inches. 

Reproduced  by  Elkington  & Co.  from  the  original  work  (repousse) 
in  silver,  with  damascened  tracery  in  gold  and  silver,  by  M. 
Ladeuil. 


io8 


ELECTROTYPE  REPRODUCTIONS. 


4312 

4313 
43M 

4315 

4^16 

4317 

4318 

4319 


Statuette  of  the  Emperor  William  I,  of  Germany. 

H.  3 ft. 

Statuette  of  the  Emperor  Frederick  I,  of  Germany. 

H.  3 ft. 

From  the  Centennial  Exhibition,  1876. 

Fire-Dogs.  Copper-bronze. 

H.  4 ft.  Italian,  1 6th  Century.  Subject:  Venus  and  Adonis.  Re- 
produced by  Elkington  & Co.  from  the  original  in  the  South 
Kensington  Museum. 

Knocker.  Copper-bronze. 

H.  1 ft.  2 y2  in.  W.  i ft.  i in.  17th  Century. 

Original  in  the  Kensington  Museum.  Attributed  to  John  of  Bologna. 

Statuette  of  Christ. 

H.  3 ft.  5K  in. 

Statuette  of  John  the  Baptist. 

H.  3 ft.  5K  in. 

(Reproductions  by  Elkington  & Co.  from  the  original  by  John  of 
Bologna  in  the  Cathedral  of  Pisa.) 

Monument  to  Frederick  William  of  Brandenburg,  the 
“ Great  Elector.”  1620-1688. 

H.  2 ft.  2 in.  Reduction  of  the  monument  in  bronze  by  A. 
Schluter.  Berlin,  1703. 

From  the  Centennial  Exhibition,  1876. 

Monument  to  Frederick  II,  the  Great,  of  Prussia. 

H.  5 ft.  2 in.  Reduction  of  the  original  bronze  work  in  Berlin  by 
Christian  Rauch,  1851.  Purchased  by  Mr.  Corcoran  from  the 
Centennial  Exhibition. 


BIOGRAPHICAL  INDEX 
OF  PAINTERS. 


ACHENBACH  (Oswald). 

Born,  Diisseldorf,  February  2,  1827.  Brother  and  Pupil  of  Andreas  Achen- 
bach.  Medals:  Paris,  1859-61  ,-’63.  Chevalier  of  the  Legion  of  Honor,  1863. 

No.  19. 

ANDREWS  (Eliphalet  F.) 

Born,  Steubenville,  Ohio,  June  1 1 , 1835.  Pupil  of  Diisseldorf  Academy 
Knaus,  and  Bonnat.  Elected  Instructor  of  Drawing  in  Corcoran  School  of 
Art,  April,  1887. 

Nos.  84,  92,  94. 


BAIL  (J.  A.) 

No.  1 2 1 . 

BAKER  (George  A.) 

Born,  New  York  1821.  Died,  New  York,  1880.  Pupil  of  National  Acad- 
emy. Elected  N.  A.,  1851 . 

No.  126. 

BARYE  (Antoine  Louis). 

Born,  Paris,  September  24,  1795.  Died,  June  25,  1875.  First  an  en- 
graver, next  a goldsmith,  and  finally  a sculptor.  Studied  under  Fourier, 
Bosio,  and  LeGros.  He  first  exhibited  in  1827.  Chevalier  of  the  Legion  of 
Honor,  1833.  Officer,  1855.  Gold  Medal  of  Honor , Exhibition  of  1855. 
Took  part  in  London  Exhibition  of  1862,  and  in  1868  became  a member  of  the 
Academy  of  Fine  Arts. 

Nos.  219,  220. 

BECKER  (Carl  Ludwig  Friederich). 

Born,  December  18,  1820.  Professor  and  Senator  of  the  Royal  Academy, 
Berlin.  President,  1888. 

No.  52. 

109 


I 10 


INDEX  OF  PAINTERS. 


BEGAS  (Karl).- 

Born,  Heinsberg,  September  30,  1794 . Died,  Berlin,  November  24,  1834. 
No.  172. 


BEGAS  (Oscar). 

Born,  Berlin,  July  31 , 1828 . Died,  November  10,  1883. 

No.  1 7 1 . 

BIERSTADT  (Albert). 

Born , Dilsseldorf,  1830.  Brought  to  America  at  an  early  age.  In  1833, 
returned  to  Dilsseldorf,  and  entered  the  Academy.  Afterwards  studied  in 
Rome,  Switzerland , and  Germany.  Elected  a member  of  the  National  Academy, 
i860.  Chevalier  of  the  Legion  cf  Honor,  France,  1867.  Medals:  Austria, 
Germany,  Bavaria,  and  Belgium.  Order  of  St.  Stanislaus,  Russia,  1869  ; 2d 
Class,  1872.  Imperial  Order  of  Medjidii,  from  Sultan  of  Turkey,  1886. 

No.  1 3 1 . 


BOGGS  (W.  B.) 

Born,  July  2,  1809.  Died,  Georgetown,  D.  C.,  March  11,  1873. 
No.  179. 


BOUGHTON  (George  Henry). 

Born,  England,  1834.  Elected  N.  A.  1871.  A.  R.  A.  1879. 
No.  15. 


BOUQUET  (Michel). 

Born , Lorient  ( Morbihau ),  October  17 , 1807.  Pupil  of  Gudin.  Medals  : 
1839,-  47,-48.  Legion  of  Honor,  188/. 

No.  187. 


BRAEKELEER  (Ferdinandus  De). 

Born,  Antwerp,  February  19,  1792.  Died,  Antwerp,  May  16,  1883.  Pupil 
of  Antwerp  Academy  and  of  Van  Bree.  Obtained  the  great  pri^e  in  1819. 
Order  of  Leopold,  Member  of  Antwerp  Academy,  Director  of  Antwerp  Museum. 
Nos.  194-195. 


BRENNER  (Carl  C.) 

A native  of  Kentucky.  Deceased. 

No.  209. 


INDEX  OF  PAINTERS. 


I I I 


BRETON  (Emile  Adelard). 

Brother  and  pupil  of  Jules  Breton.  Born,  Courrieres.  Medals:  Paris, 
1866,-67 ,-’68,- 78 ; Philadelphia,  1876  ; and  Vienna,  1873.  Chevalier  of 
the  Legion  of  Honor,  1878.  Member  of  the  Order  of  Leopold. 

Nos.  61,  62. 

BRETON  (Jules  Adolphe). 

Born,  1827.  Medals  : Paris,  1855,-’ 57 r 59, ~ 61  ,-67.  Medal  of  Honor, 

1872. 

No.  44. 

BRUEGHEL  (Jan)  (Breughel). 

Called  Fluweelen  ( Velvet ) Brueghel.  Born,  Brussels,  1568.  Died,  Ant- 
werp, January  13,  1625.  Flemish  school.  Son  of  Peeler  Brueghel,  the  elder. 

No.  158. 

BREWERTON  (E.  Douglass). 

No.  163. 

BRIDGMAN  (Frederick  Arthur). 

Born,  Alabama,  1847.  Medals : Paris,  1877,-78.  Legion  of  Honor,  1878. 

No.  47. 

BROOKE  (Richard  Norris). 

Born,  IVarrenton,  Va.,  October  20,  1847. 

No.  136. 

BROWN  (John  G.) 

Born,  Durham,  England,  November  11,  18)1.  Studied  at  Newcastle-on- 
Tyne,  Edinburgh  Academy,  and  National  Academy  Schools,  N.  Y.  Elected 
A.  N.  A.,  1862.  N.  A.,  1863. 

No.  154. 

BROWN  (W.) 

Born  in  England. 

No.  155. 

BROWN  (W.  Garl). 

No.  208. 

BURNIER  (Richard). 

Born,  The  Hague,  1826.  Died,  Diisseldorf,  March  17,  1884.  Member  of 
the  Amsterdam  Academy. 

No.  38. 


INDEX  OF  PAINTERS. 


I 12 


CABANEL  (Alexander). 

Born,  Montpelier,  September  28,  182}.  Died,  Paris,  1889.  Pupil  of 
Picot.  IVon  the  Grand  Prix  de  Rome,  1845.  Medals  : 1852,-55.  Medals 
of  Honor,  1865,-65,-68.  Legion  of  Honor,  1855 ; Officer,  1864;  Com- 
mander, 1884.  Member  of  the  Institute,  1865.  Professor  in  the  Ecole  des 
Beaux  Arts. 

No.  69. 

CANALETTI  (II). 

Born,  Venice,  October  18,  1695.  Died,  Venice,  April  20,  1568. 

Nos.  173,  174. 

CAZIN  (Jean  Charles). 

Born,  Samer  Pas-de-Calais.  Pupil  of  Lecoq  de  Boisbaudran.  Medal,  1880. 
Legion  of  Honor , 1882. 

No.  225. 

CHASE  (Harry). 

Born,  IVoodstock,  Vt.,  1853.  Died,  October,  1889.  Elected  A.  N.  A., 
1883. 

No.  39. 

CHIALIVA  (Luigi). 

Born,  Caslano,  Switzerland,  1842,  of  Italian  parents,  who  were  political 
exiles.  Studied  art  first  in  Milan  and  afterward  in  Paris  and  Berlin.  A 
cosmopolitan , having  in  his  boyhood  studied  in  Switzerland,  Germany,  France, 
and  England.  Decorated  by  the  King  of  Italy  in  1885.  Has  never  exhibited 
at  the  Salon  or  other  public  exhibitions. 

Nos.  50,  51. 

CHIERICI  (Gaetano). 

Born , Reggio,  Italy,  1838. 

No.  1 18. 

CHURCH  (Frederick  Edwin). 

Born,  Hartford,  Conn.,  1826.  Pupil  of  Thomas  Cole.  Elected  N.  A.,  1849. 
Medal : Paris,  1863. 

Nos.  31,  32. 

CLEMENTS  (Alexander  Hamilton). 

Born,  Georgetown , D.  C.,June  1,  1818. 

No.  201. 

COLE  (Thomas). 

Born,  Bolton  le  Moor,  England,  February  1 , 1801.  Died,  near  Catskill , 
N.  Y.,  February  1 1,  1848.  Painter  of 11  The  Course  of  Empire  n and  “ Voy- 
age of  Life.” 

Nos.  7,  8,  9. 


INDEX  OF  PAINTERS. 


ll3 


COLLETTE  (A.) 

No.  3> 

COMTE  (Pierre  Charles). 

Born,  Lyons,  April  2 3,  182 3.  Pupil  of  Delaroche,  H.  Fernet,  and  Robert 
Fleury.  Medals : 185 2,-’ 53,-’ 33, ->57, -’67.  Legion  of  Honor,  1857. 

No.  159. 

COROT  (Jean  Baptiste  Camille). 

Born,  Paris,  July  20,  1794.  Died,  Paris,  February  23,  1875.  Medals  : 
'$33, -48 -’55,-67.  Chevalier  of  the  Legion  of  Honor,  1846  ; Officer,  1867. 
No.  128. 

COUDER  (E.  G.) 

Nos.  123,  124. 

COUTURE  (Thomas). 

Born,  Scnlis  (Oise),  December  21 , 1813.  Died,  Villiers  le  Bel  (Seine  et 
Oise),  March  31,  1879.  Medals:  1844,-47,-33.  Legion  of  Honor,  1848. 
No.  1 6. 

CRANCH  (Christopher  Pearse). 

Born,  Alexandria,  Va.,  March  8,  1818.  Elected  N.  A.,  1864. 

No.  206. 

CROPSEY  (Jasper  Francis). 

Born,  Rossville,  N.  Y.,  February  18,  1823.  Elected  N.  A.,  1851. 

No.  165. 

CULVER  (J.  M.) 

No.  1 80. 


DAUBIGNY  (Charles  Francois). 

Born,  Paris,  February  13,  1817.  Died,  Paris,  February  20,  1878.  Pupil 
of  his  father  and  Paul  Delaroche,  and  for  years  studied  in  Italy.  Medals  : 
1848,-33,-33,-37,-39,-69.  Legion  of  Honor,  1839 ; Officer,  1874. 

No.  213. 

DE  BLOCK  (Eugenius  Frans). 

Born,  Grammont , East  Flanders,  May  14,  1812.  Pupil,  at  Ghent,  of  Van 
Huff  el.  Medal : Paris,  1842.  Legion  of  Honor,  1846. 

No.  170. 


INDEX  OF  PAINTERS. 


I 14 


DE  BRAEKELEER. 

See  Braekeleer. 

No.  194. 

DE  MARNE  (Jean  Louis). 

Called  Demarnette.  Born , Brussels;  baptised  January  22,  1754.  Died, 
Batignolles,  Paris,  March  24,  1829.  Medals  : 1806,-09.  Legion  of  Honor, 
1828. 

Nos.  196,  197. 

DESGOFFE  (Blaise  Alexander). 

Born,  Paris,  January  17,  1830.  Died,  1886.  Pupil  of  Flandrin  and 
Bouguereau.  Medals:  1861,-63.  Legion  of  Honor,  1878. 

No.  1 19. 

DETAILLE  (Edouard). 

Born,  Paris,  1848.  Favorite  pupil  of  Meissonier.  Medals  : Paris,  1869 , 
- 70,-72 . Chevalier' of  the  Legion  of  Honor,  1873;  Officer,  1881.  Grand 
Medal  of  Honor,  1888. 

Nos.  11 6,  1 1 7. 

DIAZ  DE  LA  PENA  (Narcisse  Virgile). 

Born , Bordeaux,  August  21 , 1808.  Died,  Mentone,  November  18,  1876. 
Medals:  1844,-46,-48.  Legion  of  Honor , 1831. 

No.  224. 

DOUGHTY  (Thomas). 

Born , Philadelphia  u v 19,  1793.  Died,  New  York,  July  24,  1836. 

Nos.  148,  149. 


DUPLESSIS  (Joseph  Sifrede). 

Born , Carpentras,  1723.  Died,  1802.  Keeper  of  the  Museum  of  Versailles. 
Admitted  to  the  Royal  Academy,  1774. 

No.  216. 

DUPRE  (Jules). 

Born,  Nantes,  1812.  Died,  October  6,  1889.  Medals:  Paris,  1867,-83. 
Chevalier  of  the  Legion  of  Honor,  1839  ; Officer,  1874. 

No.  212. 


DURAND  (Asher  Brown). 

Born , New  Jersey,  1796.  Died,  1873.  One  of  the  original  members  of  the 
National  Academy  of  Design , N.  Y.,  and  its  President  from  1843  I$6i. 

Nos.  12,  13. 


INDEX  OF  PAINTERS. 


1*5 


EASTMAN  (Seth,  Col.,  U.  S.  A.). 

Born,  Brunswick , Maine,  January  /8,  1808.  Died,  August ft,  1875. 

No.  1 5 1 . 

ECKOUT  (E.  T.) 

No.  153. 

ELDER  (John  A.) 

Nos.  143,  144. 

ELLIOTT  (Charles  Loring). 

Born,  Scipio,  N.  Y.,  December , 18/2.  Died,  August  25,  1868.  Pupil  of 
Trumbull  and  Quidor  in  New  York.  Elected  A.  N.  A.,  1847,  and  N.  A., 

1846. 

Nos.  1,  2,  3,  4,  5,  6. 


• FAED  (John). 

Born,  Scotland , 1820.  Member  R.  S.  A.,  1871. 
No.  1 15. 


FISHER  (A.) 

No.  205. 

FRERE  (Edouard). 

Born,  Paris,  January  to,  1819.  Died,  1886.  Pupil  of  Delaroche  and  of 
l’ Ecole  des  Beaux  Arts.  Medals:  1850,-5  2,-55.  Legion  of  Honor,  1855. 

No.  199. 


GEROME  (Jean  Leon). 

Born,  Vesoul,  France , 1824.  Pupil  of  Paul  Delaroche  and  of  V Ecole  des 
Beaux  Arts.  Medals:  Paris,  1847  ,-48,-55.  Member  of  the  Institute,  1865. 
Medal  of  Honor  {Exposition  Universelle),  1867.  Medal  of  Honor,  1874. 
Medal  and  one  of  the  eight  Grand  Medals  of  Honor  {Exposition  Universelle), 
1878.  Chevalier  of  the  Legion  of  Honor,  1855  ; Officer,  1867;  Commander, 
1878.  Chevalier  of  the  Order  of  the  Red  Eagle.  Member  of  the  Royal  Acad- 
emy, London.  Professor  at  l’ Ecole  des  Beaux  Arts,  Paris. 

No.  35. 


i6 


INDEX  OF  PAINTERS. 


GIFFORD  (Sanford  R.) 

Born , Greenfield , N.  Y .,  /w/jp  10,  182}.  Elected  A.  N.  A.,  1851 , awd  A'. 
A .,  Died , Yoffc,  August  29,  1880. 

No.  28. 


GIGNOUX  (Regis). 

Ztorw,  Lyons,  1816.  Died , /S#2.  Member  N.  A.,  1.851 . 
Nos.  109,  1 10. 

GOTTHOLD  (Florence). 

Born , Uhrichsville , Ohio,  October 5,  1858. 

No.  178. 


GRAY  (Henry  Peters). 

Born,  New  York,  June  25,  1819.  Died , New  York,  November  12,  1877. 
Elected  N.  A.,  1842.  President  N.  A.,  from  1869  to  1871 . 

No.  49. 


GRAYSON  (Clifford  PREvosf). 

Born , Philadelphia , 1857.  Pupil  Pennsylvania  Academy  and  of  Gerome 
No.  139. 

GUILLAUME  (Louis  Matthiew  Didierj. 

Born , Nantes,  France,  1819. 

No.  140. 


HARDING  (Chester). 

Born,  Conway , Mass.,  September  1 , 1792.  Died,  Boston , Mass.,  April  1 , 
1866. 

No.  68. 

HARRISON  (Thomas  Alexander). 

Born,  Philadelphia,  January  17,  1855.  Pupil  of  Pennsylvania  Academy 
of  Fine  Arts,  the  San  Francisco  Art  School,  Ecole  des  Beaux  Arts,  and  of 
Gerome.  First  exhibited  in  Salon,  1880.  Medal  Paris  Universal  Exposition, 
1889.  Chevalier  Legion  of  Honor  and  Officer  d} Instruction  Publique.  Medal  : 
Munich  Salon.  Member  of  the  jury  of  the  Salon  Champs  de  Mars , 1890. 

No.  222. 


INDEX  OF  PAINTERS. 


I 17 


HART  (James  McDougal). 

Born , Scotland , May  10,  1828.  Elected  A.  N.  A.,  1857,  and  N.  A.,  1859. 

No.  17. 

HAYS  (William  Jacob). 

Born , New  York , August  8,  1850.  Died , New  York , 1875. 

No.  190. 

HEALY  (George  Peter  Alexander). 

Born , Boston, July  1 5,  /£o£.  Medals:  Paris,  1840-55. 

Nos.  72,  73,  74,  75,  7 6,  77,  78,  79,  80,  81,  82,  83,  85,  86,  87,  88,  89,  90, 

91,  96,  103,  104,  217,  218. 

HEILBUTH  (Ferdinand). 

Born,  Hamburg.  Died,  Paris,  November  19,  1889.  Medals : 1857,-59 , 
-61.  Member  Legion  of  Honor , 1861  ; Officer,  1881.  Chevalier  Order  of 
Leopold , Belgium. 

No.  130. 

HELMICK  (Howard). 

Born,  Zanesville,  Ohio,  1845.  Pupil  VEcole  des  Beaux  Arts,  Paris,  and 
of  Cabanel.  Member  Royal  Society  of  British  Artists  and  Royal  Society  of 
Painter  Etchers. 

No.  185. 

HENNER  (Jean  Jacques). 

Born,  Bernwiller,  Alsace,  March  5,  1829.  Pupil  of  Drolling  and  Picot. 
Medals:  1865,-65,-66,-78.  Chevalier  of  the  Legion  of  Honor,  1 875  ; Offi- 
cer, 1878.  IVon  the  Grand  Prix  de  Rome,  1858. 

No.  215. 

HILDEBRANDT  (Eduard). 

Born,  Dant^ic,  September  9,  1817.  Died,  Berlin,  October  25,  1868.  Pro- 
fessor, Berlin  Academy,  1855.  Member,  Berlin  Academy,  1855. 

No.  1 14. 

HUBARD  (Wm.  J.) 

Born,  IVarwick,  England,  August  20,  1807.  Died,  Richmond,  Va.,  Feb- 
ruary 15,  1862. 

No.  2 ip. 

HUNTINGTON  (Daniel). 

Born,  New  York,  October  14,  1816.  Pupil  of  Prof.  S.  F.  B.  Morse  and  of 
G.  P.  Ferrers.  Elected  A.  N.  A.,  1859 , and  N.  A.,  1840.  President  of  the 
National  Academy  of  Design,  New  York,  1 862,-69- 77 , and  1889. 

No.  30. 


i8 


INDEX  OF  PAINTERS. 


INMAN  (Henry). 


Born , Utica,  N.  Y.,  October  20,  1801.  Died,  Mew  York,  January  iy,  1846. 
No.  127. 

INNESS  (George). 


Born,  Newburgh,  N.  Y.,  May  1,  1825.  Elected  A.  N.  A.,  1853,  and  N.  A., 
1868 . 

Nos.  177,  228. 


ISABEY  (Eugene  Louis  Gabriel). 

Born,  Paris,  1804.  Died,  1886.  Medals:  1824,  i8ay.  Legion  of  Honor, 
1832.  Officer,  1832. 

No.  223. 


JAPY  (Louis  Aime). 

Born,  Berne.  Medals:  i8yo,-y3. 

Nos.  63,  64. 

JARVIS  (John  Wesley). 

Born,  South-Shields-on-the-Tyne,  iy8o. 

No.  108. 

JEANNIN  (George  C.) 

Born,  Paris.  Medal:  3d  Class,  i8y8. 

No.  192. 

JOHNSON  (Eastman). 

Born,  Lovell,  Me.,  July  29,  1824.  Elected  N.  A.,  i860. 
No.  41. 


KAEMMERER  (Frederick  Hendrick). 

Born,  Ghent.  Pupil  of  Gerome.  Medal:  3d  Class,  Paris,  i8y4. 
No.  133. 


KENSETT  (John  Frederick). 

Born,  Cheshire,  Conn.,  March  22,  18/8.  Died,  New  York,  December  16, 
i8ya.  Elected  N.  A.,  in  New  York,  1849. 

Nos.  5 6,  57,  58. 


INDEX  OF  PAINTERS. 


I 19 


KEY  (John  R.) 

No.  183. 

KING  (Charles  B.) 

Nos.  137,  138. 

KNAUS  (Ludwig). 

Born , Wiesbaden,  October  10,  1829.  Professor  Berlin  Academy,  1874  to 
1884.  Member  of  Vienna,  Berlin,  Munich,  Amsterdam,  and  Christiana  Acad- 
emies. Medals:  Paris,  1853,-55,-57,-59.  Medal  of  Honor,  1867.  Le- 
gion of  Honor,  1859.  Officer,  1867.  Knight  of  Prussian  Order  of  Merit, 
and  many  medals. 

No.  129. 


LACHENWITZ  (F.) 

Pupil  of  Diisseldorf  Academy. 

No.  181 . 

LAN  MAN  (Charles). 

Born,  Monroe,  Mich.,  June  14,  1819.  Pupil  of  A.  B.  Durand.  Elected  A. 
N.  A.,  1842. 

No.  162. 

Le  CLEAR  (Thomas). 

Born,  Owego,  New  York,  March  11,  1818.  Elected  N.  A.,  1865. 

No.  145. 

LELY  (Sir  Peter). 

Born,  Soest,  1617.  Died , London,  November  50,  1680.  Real  name,  Peter 
Vander  Faes.  Pupil  of  Pieter  de  Grebber  in  Haarlem,  but  after  going  to 
England  closely  imitated  the  manner  of  Van  Dyck.  Nominated  Court  painter 
and  knighted  by  Charles  II. 

No.  107. 

Le  ROUX  (Hector). 

Born,  Verdun,  December  27 , 1829.  Pupil  of  Picot  and  VEcole  des  Beaux 
Arts.  Won  Second  Grand  Pri^e  in  1857.  Medals:  1863, -64, -74 -’78. 
Legion  of  Honor , 1877. 

No.  14. 

Le  ROUX  (L.  Eugene). 

Born,  Paris,  September  28,  1855.  Medals:  1864 -’73,- 75-  Legion  of 
Honor,  1871. 

No.  146. 


120 


INDEX  OF  PAINTERS. 


LEUTZE  (Emanuel). 

Born , Gmiind , IViirtemburg,  May  24 , 1816.  Died , Washington , D.  C., 
July  18,  1868.  Elected  N.  A .,  i860. 

Nos.  20,  21. 


LOTZ  (Matilda). 

No.  42. 


LOUSTAUNAU  (Louis  Auguste  George). 

Born , Paris,  September  12,  1846.  Pupil  of  Vibert,  F.  Barrias,  and  Gerome , 
No.  65. 


MACCARI  (Cesare). 

Born,  Sienna,  May  9,  1840.  Gold  medals,  Sienna  and  Parma,  1869. 
Medal:  Philadelphia,  1876.  Great  Pri^e,  Turin,  1880.  Professor  at  Acad- 
emia S.  Luca,  Rome.  Member  Rome,  Venice,  Bologna,  and  Genoa  Academies. 
Order  of  the  Italian  Crown. 

No.  1 9 1 . 


MACLEOD  (William). 

Born,  Alexandria,  Va.  Curator  of  The  Corcoran  Gallery  of  Art,  1874-1890. 
No.  164. 

MALBONE  (Edward  G.) 

Born , Newport,  R.  I.,  1777.  Died , Savannah,  Ga.,  1807.  An  eminent 
miniature  painter,  but  was  little  known  as  a painter  in  oils. 

No.  67. 


MATHEWS  (William  T.) 

Born,  Bristol,  England,  May,  1821.  Came  to  the  United  States,  1833. 
Student  National  Academy  of  Design,  New  York. 

No.  95. 


MAYER  (Frank  Blackwell). 

Born,  Baltimore,  Md.,  December  27,  1827.  Pupil  of  Gleyre  and  Briou, 
Paris.  Medal  and  Diploma,  Philadelphia,  1876.  Medals  of  Maryland  In- 
stitute. 


No.  186. 


INDEX  OF  PAINTERS. 


1 2 I 


MENGS  (Raphael). 

Born , Bohemia , 1728.  Died,  Rome,  1779. 

No.  40. 


MORETTI  (Antonio). 

Nos.  141,  142. 


MORLAND  (George). 

Born,  England,  June  26,  176 5.  Died  October  29,  1804.  First  exhibited 
at  Royal  Academy , 1779. 

No.  1 13. 

MOTTE  (Henri  Paul). 

Pupil  of  Gerome.  Medal,  yd  Class,  1880. 

No.  175. 

MOUNT  (William  Sidney). 

Born,  Setauket,  L.  I.,  November  26,  1807.  Died,  New  York,  November  19, 
1868.  Elected  N.  A.,  1832.  He  was  the  son  of  a farmer  on  Long  Island,  and 
was  in  early  life  a sign-painter.  He  had  a studio  on  wheels  with  a plate-glass 
front,  in  which,  drawn  by  a pair  of  horses,  he  could  select  any  point  of  view  he 
wished,  and  thus  protected  from  the  weather  leisurely  make  his  careful  studies. 

No.  200. 


MULLER  (Charles  Louis). 

Born,  Paris,  December  1 5,  18  / 5.  Called  Muller  of  Paris.  Medals:  1858, 
-46,-48,-55.  Legion  of  Honor,  1849.  Officer,  1859.  Member  of  the  Insti- 
tute, 1864. 

No.  70. 

MURILLO  (Bartolome  Estevan). 

Born,  Seville,  Spain,  January  1,  1618.  Died,  Seville , April  5,  1682. 
Founded  a public  Academy  of  Art  at  Seville,  January  1,  1660.  Made  Court 
painter  of  Charles  II  of  Spain.  His  death  resulted  from  a fall  from  a scaffold 
which  he  had  mounted  to  paint  the  upper  part  of  a picture. 

No.  1 66. 


NICOL  (Erskine). 

Born,  Leith , Scotland,  July,  1825.  Elected  A.  R.  A.,  1866.  Medal:  2d 
Class,  Paris,  1867. 

No.  27. 


1 22 


INDEX  OF  PAINTERS. 


ODDIE  (W.  M.) 

No.  152. 

OERTEL  (Johannes  A.) 

Born,  Furth,  near  Nuremburg,  Bavaria,  November  3,  1823. 
No.  134. 


OLLENROTH  (Jennie). 

No.  1 6 1 . 


PAUWELS  (Ferdinand). 

Born,  Eckeren,  April  13,  1830.  IVon  Grand  Prix  de  Rome,  1832.  Pro- 
fessor Dresden  Academy . Medals:  1833,-64,-68.  Order  of  Leopold,  1861 . 
No.  150. 

PE  ALE  (Rembrandt). 

Born,  Bucks  county , Pennsylvania,  February  22,  1383.  Died,  Philadelphia , 
October  3,  i860.  Son  of  Charles  Wilson  Peale.  Pupil  of  Benjamin  West. 
Most  noted  picture  is  a portrait  of  Washington,  purchased  by  the  U.  S.  Senate 
in  1832.  Exhibited  at  Royal  Academy,  London,  183 3. 

Nos.  111,  1 12. 

PEIXOTTO  (George  Da  Madura). 

Born , Cleveland,  Ohio , 1839. 

No.  135. 

PERETTI  (B.) 

No.  184. 


PORTER  (Benjamin  Curtis). 

Born,  Melrose,  Mass.,  August  29,  1843.  Elected  A.  N.  A.,  1833.  N.  A., 
/ 880. 

No.  48. 

PORTAE LS  (Jean  Francis). 

Born,  yilvord,  near  Brussels,  May  1 , 1818.  Pupil  of  Nave and,  in  Paris, 
of  Delay oche.  Won  the  Prix  de  Rome,  1841.  Member  and  (since  1838) 
Director  Brussels  Academy.  Order  of  Leopold,  1831.  Medal,  Paris,  1833. 
No.  207. 


INDEX  OF  PAINTERS. 


123 


PREYER  (Johann  Wilhelm). 

Born , Rheydt , near  Diisseldorf  July  19,  180 3.  Died , , 188  . Pw/uJ 

of  Diisseldorf  Academy , 1822-  27. 

No.  198. 

PRIOU  (Louis). 

£or«,  Toulouse , 1845.  Medals:  Paris,  1869, -’74. 

No.  120. 


RANNEY  (William). 

No.  182. 

REBOUET  (Alboy). 

No.  34. 

RENOUF  (Emile). 

Born , Paris,  June  23,  1847.  Medals:  Paris,  1880;  Munich,  1883. 
No.  46. 


REYNOLDS  (Sir  Joshua). 

Born,  Plympton,  Devonshire,  England,  July  16,  1723.  Died,  London,  Feb- 
ruary 23,  1792.  Son  of  Rev.  Samuel  Reynolds.  Chosen  first  President  of 
the  Royal  Academy  on  its  establishment  in  1768.  Knighted  by  George  III.  On 
the  death  of  Allan  Ramsay,  in  1784,  Reynolds  became  principal  painter  in 
ordinary  to  the  King. 

Nos.  105,  106. 


RICHARD  (Madame  Emma  G.) 

No.  156. 

RICHARDS  (William  Trost). 

Born,  Philadelphia,  November  14,  1833.  Honorary  Member  N.  A.  Medals: 
Philadelphia,  1876;  Temple,  1883. 

No.  37. 

RICO  (Martin). 

Born,  Madrid, . In  1862  secured  the  first  Prix  de  Rome  ever  given  at 

Madrid  for  landscape.  Medal:  Paris,  1878.  Legion  of  Honor,  1878. 

No.  221. 


2 4 


INDEX  OF  PAINTERS. 


ROBBE  (Louis). 

Born , Courtray , November  17,  1806.  Medals:  Brussels,  1839,-42;  Paris , 
1844,-55.  Legion  of  Honor,  1845.  Order  of  Leopold,  1843.  Officer,  1863. 
Spanish  Order  of  Charles  III,  1844.  Member  Amsterdam  Academy,  1855. 
Nos.  203,  204. 

ROSSITER  (Thomas  P.) 

Born,  New  Haven,  Conn.,  September  29,  1818.  Died,  Cold  Spring,  New 
York,  May  17,  1871.  Medal,  Paris,  1855.  Elected  A.  N.  A.,  1840.  N. 
A.,  1849. 

No.  43. 

ROUSSEAU  (Theodore). 

Born,  Paris,  April  15,  181 2.  Died,  Barba^on,  near  Fontainebleau,  Decem- 
ber 22,  1867.  Medals:  1834,-49,-’ 55.  Medal  of  Honor,  1867.  Chevalier 
of  the  Legion  of  Honor,  1852. 

No.  18. 


ROVRIARD  (A.) 

No.  176. 


SAINTIN  (Jules  Emile). 

Born,  Leme,  August  14,  1829.  Pupil  of  Drolling,  Picot , and  Leboucher. 
Medals:  1866,-70,-83.  Legion  of  Honor , 1877. 

No.  102. 

SAINT-JEAN  (Simon). 

Born,  Lyons,  October  13,  1808.  Died,  Ecully , July  3,  i860.  Medals: 
1834,-41,-55.  Legion  of  Honor,  1843. 

No.  193. 

SAINT-PIERRE  (Gaston  Casimir). 

Born,  Nimes,  May  12,  1833.  Pupil  of  Jalabert  and  Cogniet.  Medals: 
1868,-79.  Chevalier  of  the  Legion  of  Honor,  1881 . 

No.  1 1. 

SALMSON  (Hugo  Fredrik). 

Born,  Stockholm,  1843.  Medal:  Paris,  1879.  Legion  of  Honor,  1879. 
Member  of  the  Stockholm  Academy,  1871. 

No.  59. 


INDEX  OF  PAINTERS. 


I2«> 


SCHEFFER  (Ary). 

Born , Dordrecht , Holland , February  10,  1797.  Died,  Argenteuil,  June  13, 
1858.  Appointed  Art  Instructor  to  the  Orleans  family  and  directed  the  studies 
of  the  Princess  Marie  in  sculpture.  Produced  his  greatest  works  between  183 3 

and  1848. 

No.  60. 


SCHREYER  (Adolphe). 

Born , Frankfort,  1828.  Pupil  of  Stadel  Institute,  Frankfort.  Studied  the 
horse  anatomically  in  the  riding  school ; later  in  Stuttgart,  Munich,  and  Diis- 
seldorf.  Travelled  extensively  in  the  East  and  throughout  Europe.  Member 
of  Antwerp  and  Rotterdam  Academies.  Medals:  Brussels,  1863;  Paris,  1864, 
-’65,-67;  Munich,  1876.  Chevalier  of  the  Order  of  Leopold,  1866.  Court 
painter  to  the  Grand  Duke  of  Mecklenburg,  1862. 

No.  10. 

STANLEY  (J.  M.) 

No.  66. 

STUART  (Gilbert). 

Born,  Narragansett,  December  5,  1735.  Died,  Boston,  July  27,  1828. 
IVent  to  England  about  1776  and  became  the  pupil  of  Benjamin  IVest,  Presi- 
dent of  the  Royal  Academy.  At  the  close  of  1794  he  returned  to  America  for 
the  chief  purpose  of  painting  the  likeness  of  IVashington  for  the  Marquis  of 
Lansdowne.  He  painted  but  three  portraits  of  IVashington  from  life.  One  he 
destroyed;  the  second  he  made  life-si^e,  and  the  third  is  now  in  the  Boston 
Museum  of  Fine  Arts.  From  these  he  painted  twenty-six  copies. 

No.  71. 


SULLY  (Thomas). 

Born,  Horncastle,  Lincolnshire,  England,  June  8,  1785.  Came  to  America 
in  1792  and  resided  at  Philadelphia.  Exhibited  10  portraits  at  the  Royal 
Academy  between  1820  and  184O.  Died,  Philadelphia,  November  5,  1872. 
Nos.  22,  23,  24,  25,  26. 


TAIT  (Arthur  Fitzwilliam). 

Born,  Livesey  Hall,  near  Liverpool,  August  5,  1819.  Pupil  of  Royal  Insti- 
tute, Manchester.  Came  to  New  York  in  1850.  Elected  N.  A.,  1858. 

No.  189. 


126 


INDEX  OF  PAINTERS. 


TILTON  (John  Rollin). 

Born , Loudon , N.  H.,  June  2,  1828.  Died , Rome,  Italy , March  22 , /888t 
where  he  had  lived  35 years. 

Nos.  54,  55. 

TROYON  (Constantine). 

Born , Sevres , August  28,  1810.  Died , 1863.  Medals  : Paris , 1838,-40 , 
-46,-48,-33.  Chevalier  of  the  Legion  of  Honor,  1849.  Member  of  the 
Amsterdam  Academy.  Diploma  to  the  memory  of  deceased  artists  { Exposition 
Universelle),  1878. 

No.  29. 

TRUESDELL  (Gaylord  Sangston). 

Born,  IVaukegan,  Illinois,  June  10,  1830.  Began  his  studies  in  Philadel- 
phia, working  there  three  years.  IVent  to  Paris  in  1883.  Exhibited  at  Salon, 
1 888,  1890. 

No.  227. 


ULKE  (Henry). 

Born,  Frankenstein  {Prussian  Silesia),  January  29,  1821.  Pupil  of  Prof. 
IVach  {Court  painter  at  Berlin)  and  of  Prof.  Peter  Cornelius. 

No.  93. 


UHL  (S.  Jerome.) 

Born,  Millersburgh,  Ohio,  June  20,  1841 . Student  of  Carolus  Duran, 
P.  de  Chavaunes,  and  M.  Raphael  Collin. 

No.  97. 


VANDERLYN  (John). 

Born,  Kingston,  N.  Y.,  October,  1776.  Died,  Kingston,  N.  Y.,  September 
23,1832.  Medal,  Paris,  1808.  Pupil  of  Gilbert  Stuart. 

No.  147. 


INDEX  OF  PAINTERS. 


127 


VAN  DYCK  (Sir  Anthony). 

Born , Antwerp,  March  22,  1599.  Died , London , December  9,  1641.  Son 

of  a linen-draper.  Pupil  of  Rubens.  IVent  to  England  on  invitation  from 
Charles  I in  16)2 , and  was  appointed  Court  painter  and  knighted  by  Charles 
I in  July , i6}2.  In  October , 1633,  he  was  granted  a pension  of  £200  per 

annum. 

No.  167. 


VAN  MARCKE  (Emile). 

Born , Sevres , August  20,  1823.  Died,  January , 1891.  Pupil  of  Troyon. 
Medals:  1 867  69,- 70,- 78 . Chevalier  of  the  Legion  of  Honor , 1872. 

No.  214. 

VELY  (Anatole). 

Born,  Ronsoy,  February  20,  1838.  Died,  Paris,  January  1 1 , 1882.  Medals : 
1874,-80. 

No.  45. 


VENNEMAN  (Charles  Ferdinand). 

Born,  Ghent,  January  6,  1803.  Died,  1879.  Pupil  of  Braekeleer  and  of 
the  Ghent  Academy.  Imitated  old  Dutch  masters.  Medal,  Antwerp,  1847. 
No.  160. 


VIBERT  (Jean  Georges). 

Born,  Paris,  1840.  Pupil  ofVEcole  des  Beaux  Arts  and  of  Barrias,  Paris. 
Medals:  Paris,  1864,-67,-68,-78.  Chevalier  of  the  Legion  of  Honor,  1870. 

No.  21 1. 


VON  THOREN  (Otto). 

Born,  Vienna,  1828.  Member  of  the  Vienna  and  St.  Petersburg  Academies. 
Medals:  Paris,  1863;  Munich,  1869;  Vienna,  1882.  Order  of  Francis 
Joseph.  Russian  Order  Vladimir. 

No.  53. 


WALDO  (Samuel). 

Born,  Connecticut,  1783.  Died,  1861. 

No.  132. 


128 


INDEX  OF  PAINTERS. 


WASHINGTON  (W.  D.) 

A native  of  IVashington,  D.  C.  Studied  at  Diisseldorf  undet  Leut^e.  Died 
at  Lexington , Fa. 

No.  169. 

WEBER  (Paul). 

Born , Darmstadt,  182}.  In  1840-58  travelled  in  America,  where  he  left 
many  pictures. 

No.  188. 

WEEKS  (Edwin  Lord). 

Born,  Boston,  1849.  Pupil  in  Paris  ofVEcole  des  Beaux  Arts  and  of  Bonnat 
and  Gerome.  Honorable  mention,  Paris  Salon,  1885. 

No.  36. 

WEYL  (Max). 

Born,  Miihlem,  IVurtemburgh , Germany,  1840.  Came  to  America  in  1855. 
Self-taught.  Commenced  painting  while  carrying  on  the  business  of  jewelry 
and  watchmaking.  IVent  to  Europe  in  1880  for  a year's  study.  First  ex- 
hibited in  the  National  Academy  of  Design,  New  York,  and  at  the  Pri^e  Fund 
Exhibition  at  the  American  Art  Galleries  in  1885.  Awarded  first  pri^e  at 
the  Exhibition  of  the  IVashington  Society  of  Artists  in  1891 . 

No.  226. 


WHITTREDGE  (Worthington). 

Born,  Springfield , Ohio,  May  22,  1820.  Pupil  of  Andreas  Achenbach  and 
of  C.  F.  Lessing.  Elected'N.  A.,  1861.  President  of  N.  A.,  1874. 

No.  125. 


ZIEM  (Felix). 

Born,  Beaune,  February  25,  1821.  Pupil  of  Art  School  at  Dijon.  Medals: 
1851,-52,-55.  Legion  of  Honor,  18 5y.  Officer,  i8y 8. 

No.  122. 


No.  1032. 
No.  1033. 
No.  1041. 


vi  1 1 vwilwTI  ( 11 

AGASIAS. 

AGESANDROS. 

ALCAMENES. 


ANGUIER  (Francis). 

Born,  Eu,  in  Normandy,  1604.  Died,  Paris,  1669.  Made  Keeper  of  the 
Gallery  of  Antiquities  by  Louis  XIII. 

No.  1316. 


No.  1073. 
No.  1033. 


APOLLONIOS. 

ATHEODOROS. 


BAR  YE  (Antoine  Louis). 

(See  Painters.) 

Nos.  3000  to  3103,  inclusive. 


BENEDETTO  (da  Majano). 

Architect  and  Sculptor.  Born , Florence,  1442.  Died,  1498. 
Nos.  1330,  1331,  1332,  1333,  !334- 

BOETIUS  (of  Carthage). 


No.  1039. 


129 


INDEX  OF  SCULPTORS. 


30 

BOSCHETTI. 

No.  3106. 

BROWN  (Henry  Kirke). 

Born,  Leyden,  Mass.,  February  24,  1814.  Died,  Newburg,  N.  Y.,  July  to, 

886. 

No.  2003. 

BROWN  (Henry  Kirke  Bush). 

Pupil  of  H.  K.  Brown. 

Nos.  3108,  3109. 

BUONAROTTI  (Michael  Angelo). 

Born,  the  Castle  of  Caprese,  March  6,  1475.  Died,  February  18,  1564. 
Nos.  1321,  1322,  1323,  1324,  1325,  1326,  1327,  1335,  *336,  1337,  ‘338. 

BUTTI. 

Nos.  1207,  1208,  1209. 


CANOVA  (Antonio). 

Born,  Passagno,  1757.  Died,  Venice,  October  13,  1822. 
Nos.  1201,  2006. 


CARONI  (E.) 

No.  2021. 

CEPHISSPDOTUS. 

No.  1086. 

CLEOMENES. 

No.  1021. 


CLEOMENES  (Son  of  Cleomenes). 

No.  1030. 


CRAWFORD  (Thomas). 

Born,  New  York,  1813.  Died , London,  1837. 

No.  2020. 


No.  1066. 


CTESILAUS, 


INDEX  OF  SCULPTORS. 


l3l 


DONATELLO  (Donato  di  Betto  Bardi). 

Born , 1386.  Died , 1468. 

Nos.  13 19— 1 33 1 . 

DUNBAR  (Ulric  Stonewall  Jackson). 

Born , London , Canada,  January  31,  1862. 

Nos.  1205,  2000. 


GALT  (Alexander). 

Son  of  Dr.  Alexander  Galt.  Born,  Norfolk,  Va.,  January  26,  1827.  Died 
of  small-pox,  Richmond,  Va.,  January  19,  1863. 

No.  2017. 

GHIBERTI  (Lorenzo). 

Born,  Florence,  1378.  Died,  , 1433. 

No.  1300. 

GIBSON  (John). 

Born,  near  Conway,  North  IVales,  1790.  Died,  Rome,  1866. 

No.  1200. 

GIO,  or  GIAN  BOLOGNA  (John  of  Bologna). 

No.  1318. 

GOUJON  (Jean). 

Born,  1330.  Killed  in  the  Massacre  of  St.  Bartholomew's  Day,  Paris,  1372. 
Nos.  1301  to  1315,  inclusive. 

GREGOIRE. 

No.  1206. 

GUARNERIO  (P.) 

No.  2022. 


HART  (Joel  T.) 

Born,  Kentucky , 1810.  Died,  Florence,  1877. 
No.  2008. 


132 


Called  11  Flammingo.  Born,  Douai,  1524.  Died,  ,1605. 

No.  1318. 


No.  1317. 


JOHN  OF  BOLOGNA. 


INDEX  OF  SCULPTORS. 


JACQUET. 


KING  (John  Crookshank). 


Born,  Kilwinning,  Ayrshire,  Scotland,  October  11,  1806.  Died,  Boston  7 
Mass.,  April  21 , 1882.  Came  to  the  United  States  in  1829.  Educated  as  a 
practical  machinist,  but  took  up  sculpture  on  the  advice  of  Hiram  Powers. 


IV as  a native  of  Sicy on.  He  was  head  of  the  Argive-Sicyon  School. 
No.  1051. 


MEADE  (Larkin  G.) 

Born,  Chesterfield,  N.  H.,  January  3,  1835.  Eupil  of  Henry  Kirke  Brown _ 
No.  2004. 

MILLS  (Clark). 

Born , Onondaga  county , N.  Y.,  December  1 , 1813.  Died,  Washington,  D.  C., 
January  12,  1883. 

Nos.  3120,  3123. 


No.  2002. 


MINO  (da  Fiesole). 


Born,  1400.  Died,  i486. 
Nos.  1328,  1329. 


INDEX  OF  SCULPTORS. 


'33 


MYRON. 

A Greek  Sculptor.  Native  of  Boetia.  Born  about  430  B.  C. 
No.  1018. 


MICHAEL  ANGELO  (Buonarotti). 

Nos.  1321,  1322,  1323,  1324,  1325,  1326,  1327,  1335,  1336,  1337,  1338. 


NAUCYDES. 

An  Argive  Sculptor.  Teacher  of  Polycleitus  II.  Flourished  about  396  B.  C. 

No.  1019. 


PETTRICH  (Ferdinand). 

Born , Dresden , 1798.  Died,  Rome,  February  14,  1872.  Son  of  Frans 
Pettrich,  1770-1844. 

No.  1204. 


PHIDIAS. 

Born,  Athens,  about  490  B.  C.  Died,  Athens,  about  432  B.  C.  Pupil  of 
Hcgesias  and  Ageladas.  Among  the  subjects  attributed  to  him  are  nine  statues 
of  Athena,  thirteen  bronze  statues  dedicated  by  the  Athenians  at  Delphi  out 
of  their  share  of  the  spoils  taken  from  the  Persians  at  Marathon , and  the  colos- 
sal bronze  statue  of  Athena  Promachus,  50  or  60  feet  high,  in  the  Athenian 
Acropolis.  He  also  made  the  colossal  chryselephantine,  or  gold  and  ivory, 
statue  of  Athena,  which  stood  in  the  front  chamber  of  the  Temple  of  Minerva 
at  Athens,  and  for  the  Eleans  at  Olympia,  the  colossal  chryselephantine 
statue  of  Jupiter,  nearly  60  feet  high;  and  the  architectural  sculptures  of  the 
Parthenon  have  been  generally  ascribed  to  him.  Pericles  made  him  general 
director  of  all  the  great  art  works  in  progress  at  Athens.  Phidias  fell  a victim 
to  the  envy  of  his  enemies.  He  was  first  accused  of  purloining  part  of  the  gold 
used  in  the  colossal  statue  of  Minerva,  and  was  acquitted;  but  beca  use  he  placed 
his  name,  with  that  of  his  patron  Pericles , upon  the  shield  of  the  goddess,  he 
was  accused  of  profanity , thrown  into  prison,  and  died  there. 

Pages  53  to  60. 


154 


INDEX  OF  SCULPTORS. 


Pupil  of  Ageladas,  and  fellow-pupil  of  Phidias  and  Myron.  His  time  is 


supposed  to  have  been  from  about  452  to  412  B.  C. 
No.  1048. 


POLYDOROS. 


No.  1033. 


No.  1048. 


POLYEUKTUS. 
POWERS  (Hiram). 


Born,  Woodstock,  Vt.,July  29,  1805.  Died,  Florence,  Italy,  June  27,  1873. 
Nos.  2010,  2011,  2012,  2013. 


Probably  born  about  392  B.  C.  Celebrated  sculptor  in  bronze  and  marble, 
but  his  most  famous  works  are  of  marble. 

Nos.  1026,  1057,  1062. 


Born , Arolsen  ( IValdeck ),  1777.  Died,  Dresden,  1837.  Rauch  was  one  of 
the  most  eminent  sculptors  of  his  time.  His  greatest  work  is  the  statue  of 
Frederick  the  Great,  at  Berlin. 

Nos.  2005,  3319. 


Born,  Frederick  county,  Md.,  September  13,  1823.  Died,  Rome,  Italy , 
October  28,  1874. 

Nos.  1203,  2014,  2015,  2016. 


SCHLUTER  (A.) 

Born,  Hamburg,  1662.  Died  St.  Petersburg,  1714. 
No.  4318. 


PRAXITELES. 


RAUCH  (Christian). 


RINEHART  (William  Henry). 


INDEX  OF  SCULPTORS. 


U5 


SCHOPIN. 

Nos.  3168,  3169. 

THORWALDSEN  (Bertel). 

Born , Copenhagen , 1770.  Died , Copenhagen,  1844. 
No.  1202. 

TROMBETTA. 

No.  2023. 


VELA  (Vencenzo). 

Born,  Ligurnetto,  Switzerland,  1822.  Studied  in  Rome.  Settled  in  Turin, 
1849.  Died , 1891. 

No.  2001. 


VISCHER  (Peter). 

Born  about  1460.  Died,  1930.  Sculptor  and  founder.  His  master-piece 
is  the  tomb  of  St.  Sebald,  in  the  church  of  that  saint  at  Nuremberg,  which  is 
esteemed  worthy  of  any  time  or  nation. 

No.  1340. 


A Hamlet  on  the  Seine, 

A Pastoral  Visit,  - 
A Family  of  Satyrs,  - 
A Dutch  School,  - 
A Home  in  the  Wood, 

A Shower,  - 

Adige,  Banks  of  the,  - 

Adams,  President  John,  Portrait 

°f> 

Adams,  President  J.  Q.,  Portrait 

of, 

Adoration  of  the  Shepherds, 
Afternoon  in  early  June, 

Alexander  of  Russia  Receiving  Res- 
olutions of  Congratulation,  - 
Allegro  and  Penseroso, 

Amazon  and  Children, 
Approaching  Night,  - 
Approaching  Storm,  - 
Arthur,  President  C.  A.,  Portrait  of, 
Autumnal  Landscape,  with  Indians, 
Autumn  Scene  on  the  Hudson, 
Autumnal  Corn  and  Grapes, 
Autumn  Afternoon  on  Lake  George, 
Auvergne,  Sunday  Morning  in,  - 
Ball  Playing  among  the  Sioux 

Indians,  - 
Banks  of  the  Adige,  - 
Battle  Piece,  - - - - 

Beach  at  Scheveningen, 


51 

39 
36 

44 

43 

24 

52 

29 

29 

22 

50 

40 
42 

19 

53 
53 
32 

5° 

41 
46 

25 

3^ 

41 
52 

42 
38 


Beggar  Girl,  - 
Breton  Widow,  - 
Bryant,  William  Cullen,  Portrait  of, 
Buchanan,  President  James,  Portrait 

of, 

Caesar  Dead,  - - - 

Calhoun,  J.  C.,  Portrait  of, 
Calhoun,  J.  C.,  Portrait  of, 
Cascade,  - 
Castle  Gondolfo,  - 

Catskills,  Scene  in  the, 

Cattle  on  the  Sea-Shore,  - . - 
Charlotte  Corday, 

Child  and  Nurse,  - 
Child  Reading,  - 
Christ  Bound,  - 
Cromwell  and  Milton, 

Crossing  the  Rocky  Mountains,  - 
Coast  of  New  Jersey, 

Corcoran,  Mr.,  Portrait  of, 
Corcoran,  Mount,  ... 

Corn  and  Grapes,  - 
Constantinople  from  the  Golden 
Gate,  - 
Count  Eberhard,  - 
Clay,  Henry,  Portrait  of, 

Clay,  Henry,  Portrait  of, 

Cleveland,  President  Grover,  Por- 
trait of, 

Clingman,  T.  L.,  Portrait  of, 


44 

23 

15 

31 

21 

39 

49 

50 

47 

22 
27 
44 

43 

44 

»9 

43 

22 

15 

38 

46 

36 

26 

39 

37 


50 


137 


■38 


INDEX  OF  PAINTINGS. 


PAGE. 

Custis,  G.  W.  Parke,  Portrait  of,  38 
Death  of  Moses,  - - - 27 

Dead,  Caesar,  - - - - 21 

Departure  for  the  Hunt,  - - 21 

Disputed  Shot,  - - - - 27 

Dog  and  Parrots,  - - -46 

Dog,  Head  of  Bull,  - - - 47 

Dogs,  Group  of,  - 23 

Dogs,  Lost,  - - - - 25 

Douglas,  Stephen  A.,  Portrait  of,  33 
Drought  in  Egypt,  - - - 50 

Drove  at  the  Ford,  , - - - 18 

Duck  Shooting,  - - - 46 

Durand,  A.  B.,  Portrait  of,  - - 16 

Edge  of  the  Forest,  - - -17 

Egypt,  Drought  in,  - - 50 

Entrance  to  the  Golden  Gate,  - 46 

Falls,  Niagara,  - - - - 21 

Family  of  Satyrs,  - - - 36 

Fanny  Ellsler  as  La  Sylphide,  - 44 

Farm  House  (Moreland),  - - 35 

Farm  in  the  Wood,  - - - 18 

Female  Head,  - - - - 18 

Festival  of  Santa  Lucia,  - -18 

Fete  of  St.  John,  - - - 25 

Fillmore,  President  Millard,  Por- 
trait of,  - - - - 30 

Fine  Weather,  - - - - 24 

Flemish  Picture,  - - - 42 

Flemish  Seaport,  Moonlight,  - 46 

Flower  Piece,  with  Cat,  - - 37 

Flower  Piece,  - - - - 37 

Fontainebleau,  Scene  at,  - - 42 

Ford,  Drove  at  the  - - - 18 

Forester’s  Home,  - - - 38 

Forest,  Edge  of  the,  - - - 17 

Fortune-Teller,  - - - - 47 

Franklin,  Benjamin,  Portrait  of,  - 51 

French  Cuirassiers  Bringing  in 

Bavarian  Prisoners,  - - 35 

Fruit  (Preyer),  - - - - 48 

Fruit  (Saint-Jean),  - - - 48 

Fun  and  Fright,  - - - 36 

Garfield,  President  J.  A.,  Portrait 

of,  - - - - 32 


Girl  and  Pets,  - 
Going  to  Pasture,  - 
Going  to  Drink,  - 
Golden  Gate,  Entrance  to,  - 

Grant,  President  U.  S.,  Portrait  of, 
Great  Falls  of  the  Potomac, 

Great  Oak,  Pond  of  the, 

Group  of  Dogs,  - 
Groves,  Mr. , Portrait  of, 

Groves,  Mrs.,  Portrait  of,  - 

Guizot,  Mr.  F.  P.  G.,  Portrait  of, 
Hamlet  on  the  Seine, 

Happy  Family,  - 
Harbor  of  New  York, 

Harrison,  President  Wm.  H.,  Por- 
trait of,  - 

Hayes,  President  R.  B.,  Portrait 
of,  - - - - - 

Head  of  a Roman  Girl, 

Head  of  a Bull  Dog,  - 
Heir  Presumptive.  - 
Helping  Hand,  The,  - 
High  Bank,  Genesee  River, 
Holland,  Moonlight  in, 

Home  in  the  Wood,  - 
Humboldt,  Baron,  Portrait  of, 
Hunt,  Departure  for  the, 

Ideal  Female  Head  (Sully), 

Ideal  Head  (Baker),  - 
Interior,  - 
Italian  Ox-Cart,  - 
Jackson,  Gen’l  Andrew,  Portrait 

of,  - 

Jackson,  Gen’l  T.  J , Portrait  of, 
Jackson,  President  Andrew,  Por- 
trait of,---- 
Jefferson,  President  Thomas,  Por- 
trait of,  - - - - 

Joan  of  Arc,  - 

Johnson,  President  Andrew,  Por- 
trait of, 

Judgment  of  Paris,  The, 

Justice  to  Lievin  Pyn, 

Lady  and  Dog,  - 
Landscape,  - 


INDEX  OF  PAINTINGS. 


l39 


PAGE. 

Landscape  (Inness),  - - - 45 

Landscape  (Doughty),  - - 41 

Landscape,  with  Cattle,  - - 51 

Landscape  (Robbe),  - - - 49 

Lake  George,  Autumn  Afternoon 

on, 25 

Lake  Scene  near  Lenox,  Mass.  - 41 
Lasteyrie,  M.,  Portrait  of,  - - 35 

Lee,  Gen’l  R.  E.,  Portrait  of,  - 40 

Leisure  and  Labor,  - - - 47 

Lincoln,  President  Abraham,  Por- 
trait of,  - - - - 31 

Lions,  Sleeping,  - - - 52 

Long  Story,  - - - - 49 

Lost  Dogs,  - - - - 25 

Madeira,  Moonlight  in,  - - 35 

Madison,  James,  Portrait  of,  - 20 
Magdalena  River,  Scenery  of  the  2 1 
Market,  Return  from  the,  - - 42 

Malbone,  E.  G.,  Portrait  of,  - 27 
Marshall,  Chf.  Justice  John,  Por- 
trait of,  - . - -1 9 

Maury,  Comdr  M.  F.,  Portrait  of,  39 
McKenney,  Col.  Thomas,  Portrait 
of,  - - - - 1 6 

McLane,  Robt.  M.,  Portrait  of,  - 28 
Mercy’s  Dream,  - - - 20 

Mid-Day  Dream,  - - - 39 

Monk  Fishing,  - - - - 27 

Monroe,  President  James,  Portrait 
of,  - - - - - 29 

Moonlight  in  Holland,  - - 53 

Moonrise  in  Madeira,  - - - 35 

Morrill,  J.  S. , Portrait  of,  - - 52 

Moses,  Death  of,  - - - 27 

Mount  Corcoran,  - - - 38 

Mount  Washington,  Sketch  of  - 25 
Nedjma-Odalisque,  - - - 17 

New  Jersey,  Coast  of,  - - 22 

Niagara  Falls,  - - - - 21 

Night,  - - - - - 21 

Odalisque,  Nedjma,  - - - 17 

On  Catskill  Creek,  - - - 46 

On  the  Coast  of  New  Jersey,  - 22 

On  the  Pincian  Hill,  Rome,  - 38 


PAGE. 

Out-Door  Concert,  - - - 42 

Paddy’s  Mark,  - - - - 20 

Page,  Mrs.  R.  C.  M.,  Portrait  of,  28 
Page,  William,  Portrait  of,  - - 40 

Paris,  Judgment  of,  - - 24 

Parthenon,  Ruins  of  the,  - - 20 

Passing  Regiment,  The,  - - 36 

Pastoral  Visit,  - - - - 39 

Payne,  John  Howard,  Portrait  of,  34 
Peabody,  George,  Portrait  of,  - 35 
Piazza  of  St.  Peter’s,  Rome,  - 40 
Pierce,  President  Franklin,  Por- 
trait of,  - - - - 3 1 

Pincian  Hill,  Rome  on  the,  - 38 
Polk,  President  James  K.,  Portrait 
of,  30 

Pond  of  the  Great  Oak,  - - 51 

Pope  Julius  II,  with  Raphael  and 

others,  - - - - 24 


Portrait  of  President  John  Adams,  29 
Portrait  of  President  J . Q.  Adams,  29 
Portrait  of  President  C.  A.  Arthur,  32 
Portrait  of  William  Cullen  Bryant,  15 
Portrait  of  President  James  Buch- 
anan, - - - - 31 

Portrait  of  J.  C.  Calhoun,  - - 50 

Portrait  of  J.  C.  Calhoun,  - - 39 

Portrait  of  a Child,  - - -17 

Portrait  of  T.  L.  Clingman,  - 50 
Portrait  of  Henry  Clay,  - - 39 

Portrait  of  Henry  Clay,  - - 37 

Portrait  of  President  Grover  Cleve- 
land, - - - - 32 

Portrait  of  Mr.  Corcoran,  - -15 

Portrait  of  G.  W.  Parke  Custis,  - 38 
Portrait  of  Stephen  A Douglas,  - 33 
Portrait  of  A.  B.  Durand,  - - 16 

Portrait  of  President  Millard  Fill- 
more, - - - - 30 

Portrait  of  Benjamin  Franklin,  - 5 1 
Portrait  of  President  James  A. 

Garfield,  - - - - 32 

Portrait  of  M.  F.  P.  G.  Guizot,  - 28 
Portrait  of  President  U.  S.  Grant,  31 
Portrait  of  Mrs.  Groves,  - - 33 


140 


INDEX  OF  PAINTINGS. 


PAGE. 

PAGE. 

Portrait  of  Mr.  Groves, 

33 

Portrait  of  Chf.  Justice  Shippen,  - 

27 

Portrait  of  President  Wm.  H.  Har- 

Portrait of  President  Zachary 

rison,  - 

3b 

Taylor,  - 

4' 

Portrait  of  President  R.  B.  Hayes, 

3i 

Portrait  of  President  Zachary 

Portrait  of  Baron  Humboldt, 

42 

Taylor,  - 

30 

Portrait  of  Genl.  T.  J.  Jackson,  - 

40 

Portrait  of  President  John  Tyler,  - 

52 

Portrait  of  Genera!  Andrew  Jack- 

Portrait  of  President  John  Tyler,  - 

30 

son,  ----- 

•9 

Portrait  of  President  Martin  Van 

Portrait  of  President  Andrew  Jack- 

Buren,  ^ - 

30 

son,  ----- 

29 

Portrait  of  George  Washington,  - 

28 

Portrait  of  Thomas  Jefferson, 

29 

Portrait  of  Martha  Washington,  - 

28 

Portrait  of  President  Andrew  John- 

Preparing for  Church, 

49 

son,  - 

3i 

Preston,  Wm.  C.,  Portrait  of, 

33 

Portrait  of  a Lady,  - 

34 

Procession  of  the  Sacred  Bull, 

24 

Portrait  of  M.  Lasteyrie, 

35 

Pyn,  Lievin,  Justice  to, 

41 

Portrait  of  Gen’l  R.  E.  Lee, 

40 

Quail  and  Young,  - 

47 

Portrait  of  President  Abraham 

Randolph,  John,  Portrait  of, 

27 

Lincoln,  - 

31 

Rebecca  at  the  Well, 

23 

Portrait  of  President  James  Madi- 

Return from  Market,  - 

42 

son,  T 

29 

Rome  from  Mount  Aventine, 

25 

Portrait  of  President  James  Madi- 

Ruins of  the  Parthenon, 

20 

son,  ----- 

20 

Sacred  Bull,  Procession  of,  - 

24 

Portrait  of  Chf.  Justice  Marshall,  - 

19 

Saint  Pierre,  J.  H.  B.  de,  Portrait 

Portrait  of  Commodore  M.  F. 

of, 

34 

Maury,  - 

39 

Santa  Lucia,  Festival  of, 

18 

Portrait  of  Col.  Thomas  Mc- 

Satyrs,  A family  of,  - 

36 

Kenney,  - 

16 

Scene  in  the  Catskills, 

47 

Portrait  of  Robt.  M.  McLane, 

28 

Scene  at  Fontainebleau, 

42 

Portrait  of  Edward  G.  Malbone  - 

27 

Scenery  of  the  Magdalena  River, 

21 

Portrait  of  Sir  Moses  Montefiore, 

39 

Scheveningen,  Beach  at, 

38 

Portrait  of  J.  S.  Morrill, 

52 

Schism,  The,  - 

5' 

Portrait  of  President  James  Monroe, 

29 

Seaport,  - 

45 

Portrait  of  William  Page, 

40 

Seaport,  - 

45 

Portrait  of  Mrs.  R.  C.  M.  Page,  - 

28 

Shakespeare  and  his  Contem- 

Portrait of  John  Howard  Payne,  - 

34 

poraries,  - 

35 

Portrait  of  George  Peabody, 

33 

Shepherds,  Adoration  of, 

22 

Portrait  of  President  Franklin 

Shepherd  and  Sheep,  - 

49 

Pierce,  - - - 

31 

Shippen,  Chf.  Justice,  Portrait  of, 

27 

Portrait  of  President  James  K.  Polk, 

3° 

Shower,  A,  - 

24 

Portrait  of  Wm.  C.  Preston, 

33 

Sleeping  Lions,  - 

52 

Portrait  of  John  Randolph, 

27 

Snow  Scene,  Moonrise, 

20 

Portrait  of  J.  H.  B.  De-Saint 

Source  of  the  Potomac, 

49 

Pierre,  - 

34 

Souvenirs  of  1 6th  & 1 7th  centuries, 

36 

Portrait  of  Horatio  Stone,  - 

1 6 

Spring  Landscape,  - 

26 

Portrait  of  Thomas  Sully, 

•9 

Stone,  Horatio,  Portrait  of, 

16 

INDEX 

OF 

PAINTINGS. 

141 

PAGE. 

PAGE. 

St.  John,  Fete  of,  - 

25 

The  Tornado,  - 

17 

Sully,  Thomas,  Portrait  of,  - 

19 

The  Unhappy  Family, 

48 

Sunday  Morning  in  Auvergne, 

36 

The  Village  Doctor,  - 

43 

Sunset,  - 

26 

The  Wedding  Festival, 

53 

Sunset  in  the  Woods, 

53 

The  Weeper,  - 

26 

Talking  Well,  - 

23 

The  Young  Savoyard  Musician,  - 

21 

Taylor,  President  Zachary,  Por- 

Tiger Hunt,  - 

52 

trait  of, 

4« 

Trojan  Horse,  The,  - 

45 

Taylor,  President  Zachary,  Por- 

Trout Brook  in  the  Catskills, 

37 

trait  of, 

30 

Twilight  (Harrison),  - 

52 

The  Approaching  Storm, 

53 

Twilight  (Japy), 

26 

The  Banks  of  the  Adige, 

52 

Tyler,  John,  Portrait  of, 

52 

The  Departure,  - 

16 

Tyler,  President  John,  Portrait  of, 

3° 

The  Disputed  Shot,  - 

27 

Unhappy  Family,  - 

48 

The  Death  of  Moses,  - 

27 

Van  Buren,  President  Martin,  Por- 

The Difficult  Task,  - 

45 

trait  of, 

30 

The  Drought  in  Egypt, 

5° 

Vestal  Tuccia,  - 

1 7 

The  Emigrant’s  Letter, 

47 

Vase  of  Flowers  (Blue  Curtain),  - 

48 

The  Farm  House,  - 

35 

Venetian  Fishing  Boats, 

25 

The  Fete  of  St.  John,  - 

25 

Village  Doctor,  - 

43 

The  Forester’s  Home,  - 

38 

Virgin  and  Child,  - 

44 

The  Fortune-Teller,  - 

47 

Washington,  George,  Portrait  of, 

28 

The  Forum,  Rome,  - 

40 

Washington  Headquarters,  on  the 

The  Happy  Family,  - 

48 

Hudson,  - 

43 

The  Harbor  of  New  York,  - 

22 

Washington,  Martha,  Portrait  of, 

28 

The  Helping  Hand,  - 

23 

Washington,  Mount,  Sketch  of,  - 

25 

The  Huguenot’s  Daughter,  - 

44 

Watering-Place,  - 

•7 

The  Judgment  of  Paris, 

24 

Wedding  Festival,  - 

53 

The  Long  Story,  - 

49 

Weeper,  The,  - 

26 

The  Passing  Regiment, 

36 

Winter  Scene,  - 

34 

The  Patriarch’s  Argument,  - 

38 

Wood,  A Home  in  the, 

43 

The  Pond  of  the  Great  Oak, 

5i 

Wood,  Farm  in  the,  - 

18 

The  Return,  - 

16 

Wood-Gatherers,  - 

37 

The  Schism,  - 

5« 

Wood  Scene,  with  Hunters, 

47 

The  Talking  Well,  - 

23 

Woods,  Sunset  in  the, 

53 

The  Trojan  Horse,  - 

45 

Young  Savoyard  Musician,  - 

21 

t 


PAGE. 


Board  of  Trustees  and  Officers,  -------  3 

History  of  The  Corcoran  Gallery  of  Art,  -----  7 

Plan  of  the  Building,  - --  --  --  --  9 

Description  of  the  Building,  - 10 

Paintings,  - --  --  --  --  --  15 

Casts  from  Antique  Sculpture,  -------  56 

Casts  from  the  Renaissance,  - --  --  --  - 77 

Casts  from  Modern  Sculpture,  -------  84 

Marbles,  --------  - 86 

Bronzes,  < - --  --  --  --  --  90 

Cloisonne,  - --  --  --  --  --  96 

Porcelains  and  Glass,  - --  --  --  --  97 

Electrotype  Reproductions,  - --  --  --  - 99 

Biographical  Index  of  Painters,  - --  --  --  109 

“ “ “ Sculptors,  - - - - - - - 129 

Index  of  Paintings,  - - - - - - - - - 137 

143 


m f • 


